@szekeresjoe On Twitter Meet the Founder Joe Szekeres Involved in community theatre outside of the Greater Toronto area for over 30 years as an actor and director, Joe now reviews and comments on professional theatres throughout Ontario and Montreal. Qualifications : Ontario College of Teachers (retired), Ontario Ministry of Education Additional Qualifications Dramatic Arts Parts 1 and 2 Bachelor of Education (Queen's University) Certificate of Honours Standing and Bachelor of Arts (King's College/University of Western Ontario) English Language and Literature Major/ French Minor Theatre Ontario Workshop : 'Writing Reviews that Matter" with Lynn Slotkin Theatre Ontario Workshop : "Writing Reviews that Matter" with Lynn Slotkin Our Story At Our Theatre Voice, we strive to be of service to write fair, unbiased and impartial reviews and commentaries. By doing this, we hope to encourage audiences to continue attending live theatre, an essential cultural format in community gatherings. Please send an email to us at ourtheatrevoice@gmail.com and we will get back to you in a timely manner. Meet the Original Web Designer Elodie Hraynyk For her work in building OUR THEATRE VOICE website, Elodie Hraynyk received the "Prix d'excellence academique Education cooperative" at her Grade 12 graduation ceremony. Congratulations, Elodie. She is currently updating our website and continues to do so to build OUR THEATRE VOICE's web presence. Elodie will begin her second year of undergraduate studies in Behavioural Science at Durham College. She will remain part of OUR THEATRE VOICE's team. Along with her interest in the theatre and all things arts-related, Elodie continues to make people aware of mental health issues through her own social media accounts. @el_hraynyk on Instagram Business inquiries: elodie.hraynyk@gmail.com Our Values These are our values. Please respect them. Respect ‘Our Theatre Voice’ includes all voices that will be heard and recognized with dignity and respect. Inherent Dignity ‘Our Theatre Voice’ recognizes the uniqueness of all individuals and will continue to reach out for their voice. Integrity ‘Our Theatre Voice’ believes in due diligence and we stand by what we say. Objective ‘Our Theatre Voice’ recognizes the importance of fair, impartial, and unbiased views of live theatrical performances. Meet the Guest Writers “I’ve known Dave Rabjohn and Geoffrey Coulter for over 30 years. Aaron Kropf was part of the Canadian writing team for OnStage Blog. These gentlemen have promised to be impartial, unbiased, and fair as they continue to work with me in sharing our commitment to you, the reader, what's happening on stage in professional theatre on Canada’s east coast, in Toronto, Stratford, London, Gananoque and Montreal.” Contributing writers to OUR THEATRE VOICE: Peter Mazzucco, Louis Train, Olivia Jon Meet Contributing Writer Aaron Kropf Aaron has been a lover of the performing arts from a young age. He attributes that to growing up in Stratford and attending at least one performance at the festival from grade 4. Aaron has been involved with a number of community theatre groups, and worked for some of the largest theatre companies in the country. When not at theatre Aaron enjoys time with his family and living the east coast life. Meet Contributing Writer Dave Rabjohn As a youngster, I went to see a production of 'Who's Afraid of Virginia Woolf' at the old Colonnade Theatre on Bloor St. There were about five people in the audience - probably some special Tuesday matinee. I sat on a bench in the first row, my knobby knees sticking out into the playing area. Martha was literally on one side of my nose and George was on the other side. They were screaming back and forth over my head like I was the tennis net. Boom - fifty years of loving theatre ensued. Meet Contributing Writer Geoffrey Coulter Award-winning actor, director, singer, arts educator, and adjudicator. He is proud to add theatre reviewer to his credentials. Geoff has performed and directed in Canada and the U.S. for over four decades. He has served as an adjudicator for regional play festivals. He has been the artistic director of many youth theatre programs/productions with the hope of inspiring the next generation of artists. Geoff has appeared in theatre, commercials, TV series and feature films, and his voice can be heard narrating documentaries, video games and educational programs. When he’s not in a theatre or recording studio, he’s teaching TV performance at the community college level.

Musicals TITANIQUE Click Here 'Moulin Rouge' The North American Tour Click Here The Lion King Click Here 'Uncovered - U2 and The Rolling Stones' Click Here Come from Away Click Here 'Million Dollar Quartet' Book by Colin Escott and Floyd Mutrux Click Here The Kit Kat Klub at Alumnae Theatre presents Cabaret Click Here Charlie and the Chocolate Factory Click Here 'The Flin Flon Cowboy' by Ken Harrower, Erin Brandenburg, Johnny Myrm Spence and the Flin Flon Cowboy Collective Click Here Jesus Christ Superstar Click Here Matilda: The Musical Click Here 'My Fair Lady' Click Here

Back Come from Away Now on stage at Toronto's Royal Alexandra Theatre Credit: Matthew Murphy. Pictured: The Toronto company Joe Szekeres VOICE CHOICE “A fuller, richer sound in vocals and music indelibly marked with subtly controlled and believable performances of emotional, deep intensity. This ‘Come from Away’ hits right to the core of human kindness within each of us.” Rejoice Canadians! ‘Come from Away’ is back and sounds even more glorious. The vocals and music have a fuller, richer sound. The emotional intensities of the individual performances are subtly and skillfully controlled and genuinely believable. Whether that’s from four years plus of Covid (that continues rearing its variants) or real-life experiences we’ve each gone through, there’s an inherent sense this opening night standing ovation production has further grown and morphed into a story that still tugs at the heartstrings. It’s joyous. This ‘Come from Away’ makes one proud to be Canadian. Husband and wife Irene Sankoff and David Hein’s relevant book, beautiful music, clever lyrics, and inspirational messages continue to speak volumes about human purpose and value when terrible adversity strikes. This Toronto production, now scheduled for performances until April 2025, may extend into next summer. I certainly hope it does. The story deals with the 38 planes diverted to Gander, Newfoundland, on that fateful morning of September 11, 2001. For five days following, the people of Gander and surrounding towns took the 7000 stranded individuals and cared for them the best way they could. Sankoff and Hein interviewed the residents who assisted. From there came poignant, sad, amusing, troublesome and heartwarming stories and memories. Beowulf Borritt’s excellent scenic design continues to reflect that East Coast ‘kitchen party’ feel we’ve all come to love. Howell Binkley’s lighting magically focuses attention where necessary to heighten tension. I also appreciate Gareth Owen’s sound design. He’s maintained the appropriate balance between the actors and the band so that the lyrics can be heard. Music Director Bob Foster, Music Supervisor Ian Eisendrath and Kelly Devine’s Musical Staging are some of the production's highlights. The melodies touch the heartstrings. I still love the sharpness of the ‘chairography’ as chairs are easily moved from point to point. There are moments when the roof is blown off the Alexandra Theatre with the numbers “Welcome to The Rock” and “Screech In” as the movement/choreography is sharply delineated. There’s always a clear and developed sense of purpose and reason. The pacing never lags or drags. I wanted to "Stop the World" as characters Nick and Diane sang in the show. Why? The musical numbers felt like believable extensions of the picture and the moment. I didn't want to leave this East Coast sense of belonging within the 100-minute running time without an interval. I cared about each of the characters and what was happening to them. Most of the original Canadian cast has returned to play several roles. There are a few new additions to the cast and standbys. Cailyn Stadnik now plays Captain Beverley Bass, and David Silvestri plays the Gander mayor. Several of the standbys are also new to the production. Christopher Ashley’s direction remains solid. His vision remains astute in wanting all audiences to know and remember the horror of that September day without showing any of the gratuitous elements. Instead, Ashley recognizes these characters as humans affected by a terrible event. Instead of focusing on the day's terror and aftermath, the audience becomes emotionally invested in what happens to them. I surely did. The actors are wonderful. They play several roles, but I will focus on certain ones. Cailyn Stadnik delivers compelling work whenever she appears as American Airlines pilot Captain Beverley Bass. Her performance of 'Me and The Sky', depicting how Bass grew to love the aviation industry, is heartwarming and impactful after the song. David Silvestri's portrayal of the Gander mayor is commanding, as he ensures the town comes together to help the stranded passengers. He also adds humour in his brief roles as mayors of the surrounding towns. The moment when Silvestri, as the Gander mayor, acknowledges his actions after five days when he returns home leaves a powerful impression. James Kall and Barbara Fulton deliver poignant performances as Nick and Diane, who meet and begin falling in love. You can’t help but root for them, especially during the ‘Screech In’ number, when they become honorary Newfoundlanders. Lisa Horner delivers a powerful performance as Beulah, a sassy, wise-cracking, assertive, kind-hearted schoolteacher at the local Academy. Saccha Dennis's portrayal of Hannah, a mother searching for her firefighter son in New York, is moving, especially when she sings "I Am Here." Hannah's persistent messages on her son's answering machine, portrayed by Dennis, are heart-wrenching. Kyle Brown's portrayal of Bob brings much-needed humour to the show, especially during a scene where the Gander mayor instructs him to gather all the barbecues in town for a cookout. Cory O’Brien effectively captures that East Coast lifestyle as Oz, the police officer when he writes a warning ticket with a code that brings the audience to laughter. Steffi DiDomenicantonio portrays Rogers TV reporter Janice Mosher, while Kristen Peace plays SPCA volunteer Bonnie. What's particularly striking about their performances is the determination of these women to make a positive impact in their chosen roles without needing validation from others. DiDomenicantonio skillfully captures the humour of being new to report on the day the world stood still, while Peace's portrayal of Bonnie is direct and decisive. Peace's Bonnie fearlessly disregards authority to check on the well-being of the animals in the plane's cargo hold. Near the play's conclusion, Peace captivates the audience as she emotionally speaks to the animals before they are returned to their original destinations. Jeff Madden and Ali Momen are same-sex couple, and boss and secretary Kevin T. and Kevin J. Madden’s Kevin is the more adventuresome. At the same time, Momen’s Kevin wants to keep quiet and not draw attention to themselves in a town that might not understand who they are as people. Kevin T and Kevin J’s relationship is unduly put to the test while stranded. Madden and Momen play off each other very well while never turning their characters into stereotypes. Final Thought: The loss in the passing of a parent, work colleagues and friends has made many messages of ‘Come from Away’ still relevant today for me. An ever-greater message for me is the moment Jeff Madden (as a bus driver) tells Kyle Brown and Saccha Dennis (as foreigners in a strange land) from Philippians 4:6: ‘Be anxious for nothing’. A message I will strongly keep in my mind and heart as I fight another battle with treatable cancer yet again. ‘Joyous. Uplifting. It’s worth a visit to ‘Come from Away.’ Running time: approximately 100 minutes with no interval/intermission. As of this article ‘Come from Away’ runs until April 6, 2025 at the Royal Alexandra Theatre, 260 King Street West, Toronto. I have a feeling it will run longer. For tickets: mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH AND THE NATIONAL ARTS CENTRE ENGLISH THEATRE present COME FROM AWAY Book, Music and Lyrics by Irene Sankoff and David Hein Directed by Christopher Ashley Music Director: Bob Foster Musical Staging: Kelly Devine Music Supervision: Ian Eisendrath Scenic Design: Beowulf Boritt Costume Design: Toni-Leslie James Lighting Design: Howell Binkley Sound Design: Gareth Oen Production Stage Manager: Lisa Humber Music Director: Bob Foster Performers: Kyle Brown, Saccha Dennis Steffi DiDomenicantonio, Barbara Fulton, Lisa Horner, James Kall, Jeff Madden, Ali Momen, Cory O’Brien, Kristen Peace, David Silvestri, Cailyn Stadnik, Clint Butler, Kate Etienne, Barbara Johnston, Jawon Mapp, Sarah Nairne, Aaron Walpole. Previous Next

Back Come from Away Now on stage at Toronto's Royal Alexandra Theatre Credit: Matthew Murphy. Pictured: The Toronto company Joe Szekeres VOICE CHOICE “A fuller, richer sound in vocals and music indelibly marked with subtly controlled and believable performances of emotional, deep intensity. This ‘Come from Away’ hits right to the core of human kindness within each of us.” Rejoice Canadians! ‘Come from Away’ is back and sounds even more glorious. The vocals and music have a fuller, richer sound. The emotional intensities of the individual performances are subtly and skillfully controlled and genuinely believable. Whether that’s from four years plus of Covid (that continues rearing its variants) or real-life experiences we’ve each gone through, there’s an inherent sense this opening night standing ovation production has further grown and morphed into a story that still tugs at the heartstrings. It’s joyous. This ‘Come from Away’ makes one proud to be Canadian. Husband and wife Irene Sankoff and David Hein’s relevant book, beautiful music, clever lyrics, and inspirational messages continue to speak volumes about human purpose and value when terrible adversity strikes. This Toronto production, now scheduled for performances until April 2025, may extend into next summer. I certainly hope it does. The story deals with the 38 planes diverted to Gander, Newfoundland, on that fateful morning of September 11, 2001. For five days following, the people of Gander and surrounding towns took the 7000 stranded individuals and cared for them the best way they could. Sankoff and Hein interviewed the residents who assisted. From there came poignant, sad, amusing, troublesome and heartwarming stories and memories. Beowulf Borritt’s excellent scenic design continues to reflect that East Coast feel ‘kitchen party’ we’ve all come to love. Howell Binkley’s lighting magically focuses attention where necessary to heighten tension. I also appreciate Gareth Owen’s sound design. He’s maintained the appropriate balance between the actors and the band so that the lyrics can be heard. Music Director Bob Foster, Music Supervisor Ian Eisendrath and Kelly Devine’s Musical Staging are some of the production's highlights. The melodies touch the heartstrings. I still love the sharpness of the ‘chairography’ as chairs are easily moved from point to point. There are moments when the roof is blown off the Alexandra Theatre with the numbers “Welcome to The Rock” and “Screech In” as the movement/choreography is sharply delineated. There’s always a clear and developed sense of purpose and reason. The pacing never lags or drags. I wanted to "Stop the World" as characters Nick and Diane sang in the show. Why? The musical numbers felt like believable extensions of the picture and the moment. I didn't want to leave this East Coast sense of belonging within the 100-minute running time without an interval. I cared about each of the characters and what was happening to them. Most of the original Canadian cast has returned to play several roles. There are a few new additions to the cast and standbys. Cailyn Stadnik now plays Captain Beverley Bass, and David Silvestri plays the Gander mayor. Several of the standbys are also new to the production. Christopher Ashley’s direction remains solid. His vision remains astute in wanting all audiences to know and remember the horror of that September day without showing any of the gratuitous elements. Instead, Ashley recognizes these characters as humans affected by a terrible event. Instead of focusing on the day's terror and aftermath, the audience becomes emotionally invested in what happens to them. I surely did. The actors are wonderful. They play several roles, but I will focus on certain ones. Cailyn Stadnik delivers compelling work whenever she appears as American Airlines pilot Captain Beverley Bass. Her performance of 'Me and The Sky', depicting how Bass grew to love the aviation industry, is heartwarming and impactful after the song. David Silvestri's portrayal of the Gander mayor is commanding, as he ensures the town comes together to help the stranded passengers. He also adds humour in his brief roles as mayors of the surrounding towns. The moment when Silvestri, as the Gander mayor, acknowledges his actions after five days when he returns home leaves a powerful impression. James Kall and Barbara Fulton deliver poignant performances as Nick and Diane, who meet and begin falling in love. You can’t help but root for them, especially during the ‘Screech In’ number, when they become honorary Newfoundlanders. Lisa Horner delivers a powerful performance as Beulah, a sassy, wise-cracking, assertive, kind-hearted schoolteacher at the local Academy. Saccha Dennis's portrayal of Hannah, a mother searching for her firefighter son in New York, is moving, especially when she sings "I Am Here." Hannah's persistent messages on her son's answering machine, portrayed by Dennis, are heart-wrenching. Kyle Brown's portrayal of Bob brings much-needed humour to the show, especially during a scene where the Gander mayor instructs him to gather all the barbecues in town for a cookout. Cory O’Brien effectively captures that East Coast lifestyle as Oz, the police officer when he writes a warning ticket with a code that brings the audience to laughter. Steffi DiDomenicantonio portrays Rogers TV reporter Janice Mosher, while Kristen Peace plays SPCA volunteer Bonnie. What's particularly striking about their performances is the determination of these women to make a positive impact in their chosen roles without needing validation from others. DiDomenicantonio skillfully captures the humour of being new to report on the day the world stood still, while Peace's portrayal of Bonnie is direct and decisive. Peace's Bonnie fearlessly disregards authority to check on the well-being of the animals in the plane's cargo hold. Near the play's conclusion, Peace captivates the audience as she emotionally speaks to the animals before they are returned to their original destinations. Jeff Madden and Ali Momen are same-sex couple, and boss and secretary Kevin T. and Kevin J. Madden’s Kevin is the more adventuresome. At the same time, Momen’s Kevin wants to keep quiet and not draw attention to themselves in a town that might not understand who they are as people. Kevin T and Kevin J’s relationship is unduly put to the test while stranded. Madden and Momen play off each other very well while never turning their characters into stereotypes. Final Thought: The loss in the passing of a parent, work colleagues and friends has made many messages of ‘Come from Away’ still relevant today for me. An ever-greater message for me is the moment Jeff Madden (as a bus driver) tells Kyle Brown and Saccha Dennis (as foreigners in a strange land) from Philippians 4:6: ‘Be anxious for nothing’. A message I will strongly keep in my mind and heart as I fight another battle with treatable cancer yet again. ‘Joyous. Uplifting. It’s worth a visit to ‘Come from Away.’ Running time: approximately 100 minutes with no interval/intermission. As of this article ‘Come from Away’ runs until April 6, 2025 at the Royal Alexandra Theatre, 260 King Street West, Toronto. I have a feeling it will run longer. For tickets: mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH AND THE NATIONAL ARTS CENTRE ENGLISH THEATRE present COME FROM AWAY Book, Music and Lyrics by Irene Sankoff and David Hein Directed by Christopher Ashley Music Director: Bob Foster Musical Staging: Kelly Devine Music Supervision: Ian Eisendrath Scenic Design: Beowulf Boritt Costume Design: Toni-Leslie James Lighting Design: Howell Binkley Sound Design: Gareth Oen Production Stage Manager: Lisa Humber Music Director: Bob Foster Performers: Kyle Brown, Saccha Dennis Steffi DiDomenicantonio, Barbara Fulton, Lisa Horner, James Kall, Jeff Madden, Ali Momen, Cory O’Brien, Kristen Peace, David Silvestri, Cailyn Stadnik, Clint Butler, Kate Etienne, Barbara Johnston, Jawon Mapp, Sarah Nairne, Aaron Walpole. Previous Next

Back TITANIQUE Now on stage at Toronto's CAA Theatre, 651 Yonge Street. Credit: Marie-Andrée Lemire Pictured: The Cast of Titanique Joe Szekeres A grand thrill of a ride. A riotous, respectful and endearing love note to one of Canada’s grand chanteuses.” ‘Titanique’ is a grand thrill of a ride that leads to a spectacular jukebox musical ending. The production is an absolute joy to see and hear. A tour of the Titanic Museum is currently underway. Dion (a strikingly beautiful Véronique Claveau) wears a stunning gold lamé dress (the costume design is by Alejo Vietti) that accentuates her shapely legs. Dion then interrupts the tour guide (Christopher Ning) and shares her perspective detailing what happened to Jack, Rose, and the other characters on the night the great ship sank in the James Cameron film. Currently, Titanique also plays off-Broadway. The choice to stage the production in the CAA Theatre is good because it has the look and feel of an off-Broadway house. The fact that productions staged at the CAA are called ‘off Mirvish’ also lends credence to selecting this specific house of the company. Upon entering the space, the curtain is closed, creating a sense of anticipation for the pre-show. Designer Paige Seber has chosen a stunning aqua-blue lighting design to evoke the feeling of being at sea, setting the stage for the story. In front of the curtain, set designers Gabriel Hainer Evansohn and Grace Laubacher, working for Iron Bloom, have placed some replica props from the film, giving the audience a glimpse of what is to come. The blue Heart of the Ocean necklace is suspended above the stage, which plays a significant role in both the film and the musical. Upon opening the curtain, we have entered not the Titanic but the ship from the musical ‘Anything Goes.’ It’s explained at the end of the musical why this connection exists. Alejo Vietti’s costumes aptly reflect the characters from the film's era, most notably Cal, Rose, and Molly Brown’s attire. Music Director Nick Burgess elicits stunning vocal renditions of Nicholas James Connell’s orchestrations and arrangements of some popular songs by Dion and other notable artists. Lawrence Schober’s careful attention to sound design highlights this collaboration. The achieved balance between the band and singers is heavenly. I could hear every lyric. ‘River Deep Mountain High’ and ‘Tell Him’ are only two examples where the vocals soared right to the roof of the CAA Theatre. Background vocalists Queenie, Andre Anthony and Rose Messenger back the musical numbers with confidence and style. Director Tye Blue clearly understands that his, Marla Mindelle's, and Constantine Rousouli's sublime book must be played as broadly as possible for maximum effect. On this media night, the comedy never veered out of control. In his Director’s Note, Blue comments that the production is “a waterfall of silliness and an unhinged fever dream of a musical.” Several adult references are a tad blue (the most obvious is Christopher Ning's SEAMAN), so if you bring a guest, ensure the person can handle the innuendo. Let's lighten up, though, okay? We all need to laugh. Several ensemble cast members are worth mentioning. Erica Peck embodies a spirited and sassy Molly Brown, even mimicking the distinctive walking style of Kathy Bates' portrayal in the film. Mike Melino plays Luigi and Victor Garber, clearly differentiating the two characters through his distinct vocal delivery. While Luigi's exaggerated Italian accent adds humour, it never crosses the line into disrespect or offensiveness. Christopher Ning is a riot (when you get the reference) as the Iceberg Bitch. I don’t want to spoil it here. I had to think about it for a couple of minutes. When it finally became clear to me, I started laughing as I waited for the subway train home. Ning’s Peabo Bryson shares a musical duet with Claveau that made me have goosebumps. I closed my eyes at one point and I could have sworn I was actually listening to Peabo and Céline. Mariah Campos is a deliciously bitchy and spoiled rich heiress, Rose. Muscular, hunky bad boy Michael Torontow packs a punch as Rose’s hotheaded and jealous fiancé, Cal. As Rose’s flighty mother Ruth, Constant Bernard is a hoot. He has a show-stopping number that is priceless to watch. As tight-fitted pants-wearing Jack (who eventually falls for Rose), Seth Zosky moves across the CAA stage with bravura and intent. Véronique Claveau is ‘Titanique’ as Céline Dion. There’s an Evita-like quality in Claveau’s performance as she moves and waves her arms and hands for a specific purpose. Claveau naturally adopts the vocal and speaking inflections of Canada’s chanteuse, even curling her mouth when she sings and speaks to get the ‘r’ sound out. I can’t help but smile each time she appears on stage. Claveau and director Blue are astute enough to poke fun without being malicious, especially regarding Dion's diagnosis of 'stiff person syndrome.' 'Titanique' is so damn much fun. Even if one isn’t a Céline Dion fan (as is my guest), the ensuing hilarity is alone worth the price of a ticket. It’s the perfect Christmas gift for the musical theatre enthusiast/geek, theatre kid or whatever term of endearment you use. The smile never left my face for the entire 100 minutes. ‘Titanique, c’est pas fantastique. C’est merveilleux!’ (It’s not fantastic. It’s marvellous!) Running time: approximately 100 minutes without an interval/intermission. ‘Titanique’ runs until January 19, 2025 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH, in co-production with the Segal Centre present ‘TITANIQUE’ Book by Marla Mindelle, Constantine Rousouli and Tye Blue Directed by Tye Blue Music Director: Nick Burgess Orchestrations and Arrangements: Nicholas James Connell Choreographer: Ellenore Scott Set Designer: Gabriel Hainer Evahsohn & Grace Laubacher for Iron Bloom Sound Designer: Lawrence Schober Costume Designer: Alejo Vietti Lighting Designer: Paige Seber Stage Manager: The. John Gray Performers: Véronique Claveau, Andre Anthony, Constant Bernard, Mariah Campos, Queenie, Mike Melino, Rose Messenger, Christopher Ning, Erica Peck, Michael Torontow., Seth Zosky, Tess Benger, Dave Comeau, Kaylee Harwood. Previous Next

Home Acknowledgements Endorsements News Profiles This Month's Reviews Review Archives Search More 'A Midsummer Night's Dream' by William Shakespeare DREAM IN HIGH PARK Click Here 'Baskerville' by Ken Ludwig Click Here 'Christmastown' by Briana Brown WORLD PREMIERE Click Here 'Cottagers and Indians' by Drew Hayden Taylor Click Here 'How To Survive In The Wild' by Jean-Philippe Baril Guérard. Translated by Rebecca Gibian Click Here 'La Bête’ by David Hirson Click Here 'As You Like It' by William Shakespeare Click Here 'Bed & Breakfast' by Mark Crawford Click Here 'Cock' by Mike Bartlett Click Here 'Fairview' by Jackie Sibblies Drury Click Here 'Interior Design' by Rosa Laborde (World Premiere) Click Here 'Liars at a Funeral' by Sophia Fabiilli Click Here Comedies

Back The Bidding War Now on stage at Streetcar Crowsnest, 345 Carlaw Avenue Now on stage at Streetcar Crowsnest, 345 Carlaw Avenue Joe Szekeres "A sharp script by Michael Ross Albert and top-notch direction by Paolo Santalucia transforms ‘The Bidding War’ into a hilarious farce filled with witty remarks and sharp insults flung back and forth with brutish finesse. The production wisely goes beyond just humour. The unravelling plot in the second act resonates deeply with anyone who has experienced bidding wars for homes." Set in Toronto’s last affordable house for sale, June (Veronica Hortiguela), an artist burdened by her "baggage of troubles," has recently returned from Germany. She stops by the house she has just put on the market. Sam (Peter Fernandes) has been hired to handle the sale and is busy preparing and coordinating with other agents and potential buyers. Sam has recently received his realtor status, having been trained by actor/realtor Greg (Sergio Di Zio). Greg is actively working to secure the house for his clients, a gay couple named Ian (Steven Sutcliffe) and Donovan (Izad Etemadi). Aurora Browne is Blayne, a cocksure realtor who uses her intelligence and looks to get what she wants from the house. Fiona Reid is Miriam, a nosy, busybody retired schoolteacher. Gregory Prest and Amy Matysio are Luke and his pregnant wife, Lara, who looks like she is about to give birth anytime soon. Charlie (Gregory Waters), the YouTube hunky trainer with bulging muscles, is interested in purchasing the house to showcase his online presence. Sophia Walker is smartly dressed realtor Patricia, who has some skeletons in her closet. What is supposed to be a routine open house turns into a bidding war where everything runs amok. Agents turn on buyers; buyers turn on agents, and there’s even a somewhat unprofessional sexual dalliance going on in the house underneath everyone’s noses. It’s a three-quarter theatre in the round setting in the Guloien. Co-set designers Ken Mackenzie and Sim Suzer have gorgeously recreated an uber-looking très chic main floor combined kitchen and living room in the first act. Upstage left is a set of stairs to the second level. The backyard is through a sliding door upstage right. There’s a door leading to the basement up centre stage. In the second act, there is a sitting area in the backyard. Christian Horoszczak's lighting design effectively captures the warm and inviting sunlight of a late summer or early fall day. Laura Delchiaro has chosen comfortable and stylish clothing, which provides a subtle hint about each character's backstory. Olivia Wheeler makes a wise decision in selecting pre-show music that mimics a radio station that underscores in the background as potential buyers enter and exit the house. The challenge behind the play's farcical elements lies in maintaining a swift plot without falling into annoying shouting and chaos. Director Paolo Santalucia expertly avoids this pitfall. In the first act, there is a lot of action, which becomes uproarious but still remains manageable. Sergio Di Zio, credited as the Fight Captain, is crucial in overseeing the action. He ensures the actors' safety while also providing a sense of realism during intense moments. The script is solid because Michael Ross Albert aptly comments on the ruthlessness of bidding wars. In Act 2, he confronts head-on how the chosen profession of a realtor is demanding. At one point, there’s mention of David Mamet’s ‘Glengarry Glen Ross’, where that story details the brutal infighting and backbiting involved in buying and selling houses. In Mamet’s tale, friendships and relationships are put to the test. Both Santalucia and Albert recognize that a similar ‘dog eat dog’ mentality of buying and selling real estate in Mamet’s play is also present here in Canada. In his Director’s Programme Note, Santalucia writes: “the desires of each character reflect a collective struggle – one where the ‘Canadian’ dream [of home ownership] is punctured while no longer [being] the promise of security and prosperity it once was.” Some smashing performances and moments made me laugh out loud many times. As Sam, Peter Fernandes is a teddy bear of a believable guy who wants to succeed in the cutthroat world of buying and selling real estate. Fiona Reid’s peculiar dottiness as Miriam makes her one-line zingers even more effective. Sergio Di Zio is a nice guy as realtor Greg, who wants only the best for his clients Ian and Donovan. However, (quick spoiler alert here), Di Zio sticks his tongue out at an aghast Sophia Walker in the second act, sending me and a few audience members around into much laughter. I’m trying not to spoil the plot here. However, the gradual interaction between Aurora Browne’s cutthroat Blayne and Gregory Waters’ boy toy Charlie, let’s say, becomes an eye-opener that raised my eyebrows in astonishment. It’s another fine example of the absurd, farcical nature behind the play. Amy Matysio looks as if she is going to give birth at any moment. Her waddling up and down the stairs and being pulled out of a chair by Gregory Prest remains a hoot. Steven Sutcliffe and Izad Etemadi are adorable as Ian and Donovan. They sometimes appear to finish each other’s sentences because they know what the other is always thinking. Ian and Donovan also get caught up in the broad comic melee of the action. Again, I don’t want to spoil what happens to Sutcliffe and Etemadi. However, (and I know it’s not funny, but the audience, including me, couldn’t help but not laugh out loud), Sutcliffe’s appearance at the top of Act 2 is one of those moments worth the ticket price. Again, it's pure comic gold. Final Thought: Sometimes, it’s okay to forget about the divisions in the world we know at this time and go see a play and have one hell of a good laugh. That’s therapeutic for the soul. ‘The Bidding War’ is one of those moments. Go and see it. Running time: approximately two hours and 15 minutes with one intermission. ‘The Bidding War’ runs until December 15 in the Guloien Theatre at Streetcar Crowsnest, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call (647) 341-7390. CROW’S THEATRE presents a Crow’s Theatre Commission THE BIDDING WAR by Michael Ross Albert Directed by Paolo Santalucia Ken Mackenzie - Co-Set Designer Sim Suzer - Co-Set Designer Laura Delchiaro - Costume Designer Christian Horoszczak - Lighting Designer Olivia Wheeler - Sound Designer Anita Nittoly - Fight Director / Intimacy Director Sam Hale - Stage Manager Anna Spencer - Assistant Stage Manager ciaran brenneman - Apprentice Stage Manager Performers: Aurora Browne, Sergio Di Zio, Izad Etemadi, Peter Fernandes, Veronica Hortiguela, Amy Matysio, Fiona Reid, Gregory Prest, Steven Sutcliffe, Sophia Walker, Gregory Waters Previous Next

Back The Master Plan Now on stage in the Michael Young Theatre in the Young Centre for the Performing Arts, Tank House Lane, Distillery District Dahlia Katz Pictured: Michael Healey as Tree Joe Szekeres VOICE CHOICE “Michael Healey’s ‘The Master Plan’ is a masterclass in ensemble acting. After seeing it again a year later, the production’s sharp satirical edge digs even deeper, leaving a theatrical scar that I hope never heals. The acting is outstanding, and the direction is excellent. A Voice Choice!” Perhaps it’s one more year of life experiences of personal loss and disappointment. Seeing Michael Healey’s ‘The Master Plan’ again makes me even more appreciate the theatrical artistry on stage and behind the scenes. It’s a hell of an absolute joy to sit back and get caught up again in the machinations of tech titans in Toronto boardrooms over the ill-fated ‘smart city’ experiment on the city’s waterfront. Based on The Globe and Mail’s journalist Josh O’Kane’s ‘Sideways: The City Google Couldn’t Buy,’ we enter the world of messy corporate drama and larger-than-life personalities (read: bullies if you like in there) in the affair between Sidewalk Labs and Waterfront Toronto. In 2017, when Waterfront Toronto decided to put up a parcel of land for development (around Lakeshore Blvd) south of where the Distillery District sits, Sidewalk Labs (a subsidiary of Google’s Alphabet Inc) swept in with a proposal to create the city of the future. There were so many questions regarding sustainability and an equitable future when this occurred. It was a bold move of promises in city building, tech ambition and urban innovation. But it all comes crashing down when promises are broken, questionable partnerships are formed, and mega egos are involved. The performance is once again staged in the round at the Michael Young Theatre. The set design by Joshua Quinlan features a futuristic, chic, and angular boardroom that, despite its sleek appearance, feels quite sterile. Kimberly Purtell's ‘boxing ring’ lighting design effectively highlights the growing sense of an unfeeling atmosphere in the boardroom as the plot unfolds. The stage is filled with numerous props, and credit goes to Joshua Quinlan for the extensive work involved in their arrangement. Additionally, Thomas Ryder Payne’s sound design is excellent, ensuring the dialogue is clear and easy to hear. As the audience enters, they are invited to go down to the stage to examine the design of the smart city. The actors enter as the characters milling about with the audience and asking if they know of this time period in Toronto. Amelia Scott's video design features a collection of news articles and photographs displayed on screens encircling the top of the performance area, utilizing 16 video screens. Two cameras are positioned at opposite ends of the stage, allowing audience members to see their images appear on the screens. Ming Wong has the critical task of selecting costumes that range from professional business attire to casual streetwear. She successfully outfits each cast member to reflect their distinct personalities. Chris Abraham’s direction remains stellar once again. Even a year later, the performances remain outstanding. The actors have found their rhythm as they continue to explore the characters' quirks and idiosyncrasies more deeply. In addition to playing specific characters, the actors play other roles with a quick costume change or carrying in a specific prop. Mike Shara has grown to be even smarmier a year later as vain, cocksure and blustery Dan Doctoroff, the American CEO of Sidewalk Labs. This time round, Ben Carlson’s smouldering Waterfront CEO Toronto Will Fleissig looks and reacts as if he might just punch the wall of the boardroom. There are moments when Carlson’s anger is beautifully contained but he gives hints that even the minutest detail of something going wrong will send his Will over the edge into tremendous fits of anger. Philippa Domville’s Meg Davis, a Waterfront executive (and Ontario Premier Bill Davis’s daughter), remains that voice and presence of calm near the end of the play in picking up the pieces after the ‘empire’ comes crashing down around all these key players. Davis believed firmly in this project, and Domville appropriately continues that sense of knowing what Meg is doing is right. Although the ‘cake’ scene with Domville is still momentarily hilarious, it’s also a tad offsetting in seeing so-called professional boardroom executives behave in such an ill approriate manner. There’s a strong sense of dignity in Christopher Allen’s final monologue delivery that these corporations might still be able to rise like the phoenix from the ashes of a fallen corporate setting. There are new members of the cast for this revival who bring their unique understanding of the unfolding events. Tanja Jacobs splendidly skewers an Anglophone-speaking French and former Toronto mayor, John Tory, and an Eva Peron like former Ontario premier Kathleen Wynne. Rose Napoli plays Kristina Verner, another Waterfront executive. Both Napoli and Domville effectively heighten a sense of tragic outcome about this ‘smart city’ as they work away on their computers near the end of the play. Napoli is also a riot as Toronto councillor Frances Nunziata. Fortunately for Toronto audiences, playwright Michael Healey plays Tree in this revival of his play. Director Chris Abraham and Healey made this smart decision to do this. Why is that? Healey brings a strong sense of closure and finality to this relatively recent story. It’s his narrative, infused with his perspective, humour, and interpretation of events, that, I believe, divided Toronto. As a result, we, the audience, gain valuable insights into this period, even though we are reminded at the beginning of the second act that it is still a work of fiction. Running time: approximately two hours and 40 minutes with one interval/intermission. ‘The Master Plan’ runs until January 12, 2025 at the Michael Young Theatre in the Young Centre for the Performing Arts in Toronto’s Distillery District, Tank House Lane. For tickets, visit www.soulpepper.ca or call (416) 866-8666. SOULPEPPER AND CROW’S THEATRE present ‘The Master Plan’ by Michael Healey Based on ‘Sideways: The City Google Couldn’t Buy’ by Josh O’Kane Directed by Chris Abraham Lighting Designer: Kimberly Purtell Set and Props Designer: Joshua Quinlan Sound Designer: Thomas Ryder Payne Video Designer: Amelia Scott Costume Designer: Ming Wong Stage Manager: Jennifer Parr Performers: Christopher Allen, Ben Carlson, Philippa Domville, Tanja Jacobs, Michael Healey, Rose Napoli, Mike Shara. Previous Next

Unique Pieces '12 DINNERS' by Steve Ross WORLD PREMIERE Click Here 'A Public Reading Of An Unproduced Screenplay About the Death of Walt Disney' by Lucas Hnath Click Here 'De Profundis: Oscar Wilde in Jail' The World Premiere Click Here 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Click Here 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death Click Here 'Jack: A Beanstalk Panto' (The Naughty Version) Written and Directed by Rebecca Northan Click Here 'A Case for the Existence of God' by Samuel D. Hunter Click Here 'Constellations' by Nick Payne Click Here 'Fierce' written and directed by George F. Walker Click Here 'Goblin: Macbeth' Created by Rebecca Northan and Bruce Horak Click Here 'Infinite Life' by Annie Baker Click Here 'Life of Pi' based on the novel by Yann Martel. Adapted by Lolita Chakrabarti Click Here

Back 'Twas the Night Before...' Cirque du Soleil The Touring Company Now on stage at Meridian Hall, 1 Front Street East, Toronto Michael Last Joe Szekeres “Whimsical! Spellbinding! ‘Twas the Night Before’ is an enchanting live production that will touch the heart.” I had forgotten how exhilarating CIRQUE DU SOLEIL shows are. It has been a long time since I saw one. The last was “Kà” in Las Vegas over fifteen years ago. Cirque du Soleil continues the tradition of enrapturing audiences with jaw-dropping acrobatics, unison dancing or soaring trapezes high above the audience’s heads. Additionally, there are adorable characters and creatures who run around the stage or engage with the audience. Judging from the media night I attended for ‘Twas the Night Before’ Cirque du Soleil, many around me, young and young at heart, experienced the same emotional reaction at Toronto’s Meridian Hall. It’s a whimsical opening night production bordering on the spellbinding. This enchanting and extraordinary travelling company doesn’t appear to have lost any of its mojo. They move with fluidity, and I can’t help but watch the seamless transition of the performers as they move from one side of the stage to the next. The Cirque website states that ‘Twas the Night Before’ is the company’s first holiday show, based on the poem ‘A Visit from Saint Nicolas’ by Clement Clarke Moore. Unfortunately, there are no programs, which is disappointing because I enjoy reading about the performers, learning about their previous shows, and discovering their future projects. It doesn’t seem right not to acknowledge the performers by name, especially since they were extraordinary on opening night. I went to the website to get credit information about the production. All I could find was the director's name. A young girl, Isabella, has become jaded by the spirit of Christmas. Her father likes to read the Clement Moore poem to her each Christmas Eve, but the daughter chooses not to partake in the activity this year. Isabella appears to be in those awkward teenage years of 15-16—moody, sullen, argumentative, and silent. Isabella is brought into the poem's world, where the characters help her return to the holiday spirit. Cirque's Senior Artistic Director, James Hadley, brings 25 years of experience in circus and live theatre to this production. He understands the importance of filling the stage to maximum potential. The performance area features a split-level design, allowing some performers to slide down to the action on stage. Hadley knows how to maintain the audience's interest, using spectacle, glitz, glamour, vibrant colours, and captivating visuals to drive the story forward. As is typical in most Cirque shows, there is little to no dialogue; however, in ‘Twas, the audience experiences brief moments from Moore’s poem interspersed with a few jaw-dropping circus acts. One thing became clear about ‘Twas’ after considering the other Cirque shows I’ve seen in Vegas. The Sin City shows are grand and elaborate. They typically take place on a stage surrounded by the audience. In one performance, there is a large pool above which the artists perform high-wire trapeze acts. It is a daring display that showcases the acrobats' impressive commitment as they enter the zone, all while suspended high above the heads of the audience. Sometimes, the choral unison dance movements in ‘Twas’ evoke the gestures of the late choreographer Bob Fosse. ‘Duo Straps’ recalled the recent revival and touring production of ‘Pippin,’ which also used a circus motif to tell its story. The ‘Roller Skate Duo’ reminded me of the craze of the roller derby fad in the late 1970s. There aren’t as many visually mesmerizing acts here in ‘Twas.’ There are a few, but none that made me wonder how the performers were able to do that. This time, that heightened frenetic synergy has been toned down. It’s a good choice. The audience now listens when we hear the lines from the Moore poem. We then watch how the artist moves in response to what we just heard. An experience has been created. That appropriate choice works for children, young people and families. We listen, we hear and then we watch. All in community. Smart! Why? This will hopefully bring young people to the theatre. And that’s a good thing. Give yourselves a Christmas gift and go see ‘Twas the Night Before’ Cirque du Soleil. And re-live those childhood Christmas memories from long ago that we all have. Running time: approximately 90 minutes with no interval/intermission. Cirque du Soleil’s TWAS THE NIGHT BEFORE runs to January 3 at Toronto’s Meridian Hall, 1 Front Street East. For tickets: ticketmaster.ca or visit tolive.com. You can also call the Box Office 416-366-7723. Previous Next

Back 'Twas the Night Before...' Cirque du Soleil The Touring Production Now on stage at Toronto's Meridian Hall, 1 Front Street East. Michael Last Joe Szekeres “Whimsical! Spellbinding! ‘Twas the Night Before’ is an enchanting live production that will touch the heart.” I had forgotten how exhilarating CIRQUE DU SOLEIL shows are. It has been a long time since I saw one. The last was “Kà” in Las Vegas over fifteen years ago. Cirque du Soleil continues the tradition of enrapturing audiences with jaw-dropping acrobatics, unison dancing or soaring trapezes high above the audience’s heads. Additionally, there are adorable characters and creatures who run around the stage or engage with the audience. Judging from the media night I attended for ‘Twas the Night Before’ Cirque du Soleil, many around me, young and young at heart, experienced the same emotional reaction at Toronto’s Meridian Hall. It’s a whimsical opening night production bordering on the spellbinding. This enchanting and extraordinary travelling company doesn’t appear to have lost any of its mojo. They move with fluidity, and I can’t help but watch the seamless transition of the performers as they move from one side of the stage to the next. The Cirque website states that ‘Twas the Night Before’ is the company’s first holiday show, based on the poem ‘A Visit from Saint Nicolas’ by Clement Clarke Moore. Unfortunately, there are no programs, which is disappointing because I enjoy reading about the performers, learning about their previous shows, and discovering their future projects. It doesn’t seem right not to acknowledge the performers by name, especially since they were extraordinary on opening night. I went to the website to get credit information about the production. All I could find was the director's name. A young girl, Isabella, has become jaded by the spirit of Christmas. Her father likes to read the Clement Moore poem to her each Christmas Eve, but the daughter chooses not to partake in the activity this year. Isabella appears to be in those awkward teenage years of 15-16—moody, sullen, argumentative, and silent. Isabella is brought into the poem's world, where the characters help her return to the holiday spirit. Cirque's Senior Artistic Director, James Hadley, brings 25 years of experience in circus and live theatre to this production. He understands the importance of filling the stage to maximum potential. The performance area features a split-level design, allowing some performers to slide down to the action on stage. Hadley knows how to maintain the audience's interest, using spectacle, glitz, glamour, vibrant colours, and captivating visuals to drive the story forward. As is typical in most Cirque shows, there is little to no dialogue; however, in ‘Twas, the audience experiences brief moments from Moore’s poem interspersed with a few jaw-dropping circus acts. One thing became clear about ‘Twas’ after considering the other Cirque shows I’ve seen in Vegas. The Sin City shows are grand and elaborate. They typically take place on a stage surrounded by the audience. In one performance, there is a large pool above which the artists perform high-wire trapeze acts. It is a daring display that showcases the acrobats' impressive commitment as they enter the zone, all while suspended high above the heads of the audience. Sometimes, the choral unison dance movements in ‘Twas’ evoke the gestures of the late choreographer Bob Fosse. ‘Duo Straps’ recalled the recent revival and touring production of ‘Pippin,’ which also used a circus motif to tell its story. The ‘Roller Skate Duo’ reminded me of the craze of the roller derby fad in the late 1970s. There aren’t as many visually mesmerizing acts here in ‘Twas.’ There are a few, but none that made me wonder how the performers were able to do that. This time, that heightened frenetic synergy has been toned down. It’s a good choice. The audience now listens when we hear the lines from the Moore poem. We then watch how the artist moves in response to what we just heard. An experience has been created. That appropriate choice works for children, young people and families. We listen, we hear and then we watch. All in community. Smart! Why? This will hopefully bring young people to the theatre. And that’s a good thing. Give yourselves a Christmas gift and go see ‘Twas the Night Before’ Cirque du Soleil. And re-live those childhood Christmas memories from long ago that we all have. Running time: approximately 90 minutes with no interval/intermission. Cirque du Soleil’s TWAS THE NIGHT BEFORE runs to January 3 at Toronto’s Meridian Hall, 1 Front Street East. For tickets: ticketmaster.ca or visit tolive.com. You can also call the Box Office 416-366-7723. Previous Next

Back A Christmas Carol Comedy Produced by New Stages Peterborough Produced by New Stages Peterborough Joe Szekeres "Dear Santa: In an earlier correspondence, I asked if you might work your magic to make Toronto’s Soup Can Theatre’s production of ‘A Christmas Carol’ an annual tradition. I’d like to amend that note and also include on the list Peterborough New Stages’ production of Katie Leamen’s ‘A Christmas Carol Comedy." A delightful performance of an 85-minute runtime and a smile that never left my face. I hope this team of "Kash and Kerry" returns soon. I discovered New Stages several years ago when I attended a reading at Peterborough’s Market Hall. The company is another gem in the theatre scene. I’ll provide a link at the end of this article so you can explore New Stages’ plans for 2025. I had to act quickly as Katie Leamen’s ‘A Christmas Carol Comedy’ has only one more performance on Sunday December 15. It’s worth the drive to Peterborough as the production takes creative artistic liberties in retelling Dickens' iconic Christmas tale. At its bare bones, Leamen’s story follows the iconic miserly senior who is visited by three spirits on Christmas Eve. They assist in helping to redeem the curmudgeon and keep the spirit and wonder of the season throughout the year. What makes this production work while fulfilling the criteria for a feel-good show? Leamen humorously critiques contemporary cultural elements and weaves them throughout the plot. Directed by Mark Wallace (Artistic Director of New Stages), who has a strong passion for comedy, the production includes playful references that the audience will easily recognize. The pacing is slick in this two-hander, and Wallace never lets it veer out of control. Theatregoers eagerly anticipate this type of story just before the holiday as they want to smile, laugh, and feel great when leaving the theatre. Wallace has gathered an exceptional creative team to work behind the scenes. Music Director Beau Dixon kicks off the pre-show with a delightful piano performance of carols that captivates the audience, gets them singing, and sets the seasonal mood. Dixon is comfortable in front of the crowd and knows how to build anticipation. Adam Whaley’s set design features flat, matted paintings on rollers that are accessibly simple yet effective. Jen Naus’s costume designs accurately reflect the Dickensian era. Scrooge’s nightgown and robe are only one example. Patricia Thorne’s lighting design effectively captures a ghostly effect that enhances the atmosphere. Brad Breckenridge has a significant challenge as the Props and Puppetry designer, and I am impressed by his tenacity in finding items that authentically represent the period. Linda Kash (Scrooge) and Kerry Griffin (all other roles) are terrific. I sincerely hope they will return next year. They understand exactly what’s required to keep the show clipping along. They know how to engage with the audience and possess a natural talent for improvisation. Even a minor slip, such as a finger getting a little too close to the other person's mouth, does not detract from the experience. Instead, it highlights the skill with which these two professionals handle the moment, showcasing their wit, grace, and style. Thank you to New Stages for the terrific afternoon of entertainment. There’s one more performance on Sunday, December 15 at 2 pm. Get to see it. To learn more about New Stages: www.newstages.ca NEW STAGES presents A CHRISTMAS CAROL COMEDY by Katie Leamen Directed by Mark Wallace Music Director: Beau Dixon Costume Designer: Jen Naus Set Designer: Adam Whaley Props and Puppetry: Brad Breckenridge Lighting Design: Patricia Thorne Sound Engineer: Tai Timbers Stage Manager: Jennine Profeta Choreographer: Dreda Blow Festive Décor Design: Dayle Finlay Performers: Linda Kash and Kerry Griffin. Photo credit: Dahlia Katz. Pictured: Linda Kash and Kerry Griffin Previous Next

Back The Wizard of Oz: The Toto-ly Awesome Family Musical Now on stage at Toronto's Winter Garden Theatre, 189 Yonge Street Now on stage at Toronto's Winter Garden Theatre, 189 Yonge Street Joe Szekeres “At times wickedly naughty. At other times, enjoyable family-friendly fun fare. This ‘Wizard of Oz’ is worth a visit.” Even though the iconic ‘Over the Rainbow’ wasn’t sung opening night (a bit schmaltzy, perhaps for a pantomime), I couldn’t help but feel a tad nostalgic about the past when Ross Petty came out to speak to the audience for a few minutes before the performance began. Petty’s glad that Canadian Stage will continue the panto tradition. I am too—a thousand thanks to CanStage for the smile it put on my face and those sitting around me. This Wizard of Oz panto is advertised on the Canadian Stage website with the tagline: “We’re not in Kansas anymore.” A good panto should transport the audience to a place beyond their usual surroundings, making them feel like they are in a different world for the moment. Cameron Fraser’s remarkable lifelike projection designs immerse the audience in the heart of the action. The story begins on a modern-day farm, and Michael Gianfrancesco’s functional set design, along with Bonnie Beecher’s warm lighting, suggests that the time is likely the beginning of summer. Ming Wong has chosen contemporary, suitable clothing styles for the characters of the twenty-first century. Additionally, for traditionalists, individuals and families can take pictures with Dorothy in her iconic gingham dress, accompanied by her three friends dressed similarly to how they appear in the film. The script does not specify whether this is the Gale farm, but that’s irrelevant. Thanks to Jennifer Mote’s lively and spirited choreography, we meet a vibrant group of enthusiastic young farmhands—Jordan Bell, Georgia Bennett, Sierra Holder, and Kirstyn Russelle—who show that life on the farm is not just about hard work; it’s also about having fun. These individuals will also become residents of TorOZto. Young Dorothy, played by Julia Pulo, has just graduated high school and feels restless about what her next phase in life will be. A sudden cyclone sweeps the young Dorothy away to the land of TorOZto, where she meets three of the other farmhands—Eddie Glen, Jonathan Cullen, and Saphire Demitro—who become the Scarecrow, the Tinman, and the Cowardly Lion. With the help of her fairy godmother, Plumbum (Dan Chameroy), Dorothy and her new friends work together to defeat the Wicked Witch of the West End, known as Nastina (played by Vanessa Sears), and to reach the Wizard of TorOZto. I’ll keep the identity of the wizard a surprise for now, but I’m sure the word is out. She works and lives in Toronto and is in charge. The Wizard will grant the wishes of the foursome on one condition - to bring back Nastina’s briefcase. In Matt Murray's often whacky text, we find all the beloved elements of a traditional pantomime. This time round, Toto, Dorothy’s dog, is a plushie. The audience is encouraged to boo the villain, and the cast frequently bursts into song and dance routines, sometimes featuring current music. The plot is filled with hilarious connections and commentaries that touch on the current political climate as well as social and cultural norms. Revealing too many of these clever references would spoil the enjoyment of this quirky take on Frank L. Baum’s cherished story. However, I’ll share one example: when the four friends find themselves in a crockpot at the end of Act One, I couldn’t help but laugh out loud, especially as I love preparing crockpot dinners. I will never look at crockpots the same way again! Ted Dykstra directs with a devilish sense of innuendo, dual meaning, and double takes especially with much of what Plumbum says or does. Musical Director/Arranger and Orchestrator Mark Camilleri brings a good sense of fun to the selected contemporary songs, effectively balanced by Brian Kenny’s noticed work in balancing the sound between the orchestra (sitting in the boxes stage right) and the singers. Julia Pulo is a sassy Dorothy right down to her ruby Blundstones which makes her even more appealing. Saphire Demitro’s savvy Cowardly Lion has a terrific musical number that brought appreciative applause from the audience. Eddie Glen’s teddy bear of a Scarecrow made him appealing to the children brought up on stage at the beginning of Act 2. The lanky Jonathan Cullen makes his Tin Man a pleasant reminder of the late Jack Haley. Vanessa Sears looks great and sounds divinely and wickedly decadent as Nastina, the Wicked Witch of the West End. For some reason, I couldn’t help but compare Sears to a modern-day Serena, Samantha Stephens’ cousin from the classic sitcom ‘Bewitched.’ And Dan Chameroy as beloved ‘Plumbum’. AAAAAAA!!!!!!! Chameroy’s first appearance elicited appreciative applause. As the French say - ‘il me manque.’ Literally meaning, he is missing to me or, in English “I missed him.’ Dan, we need the laughs and your humour right now. Chameroy is having one hell of a good time as the beloved fairy godmother, and many of the innuendos and double takes are once again worth the price of tickets. The youngsters may not get what he says periodically, but the adults will be rolling in the aisles with laughter. A cautionary note to parents or adults bringing young children: Please do your homework on what constitutes a pantomime. I’m not sure if the family behind me was expecting the 1939 "Wizard of Oz" film, but the little girl kept talking loudly to her father for several minutes, which distracted me. I understand that parents want to bring their kids to experience an opening night, but it’s important for them to teach their children proper theatre etiquette. It’s not the theatre's responsibility to do so. Running time: approximately two hours including one interval/intermission. ‘The Wizard of Oz’ The Panto runs until January 5 at the Winter Garden Theatre, 189 Yonge Street, Toronto. For tickets: canadianstage.com or call 416-368-3110. A CANADIAN STAGE PRODUCTION in association with the Elgin and Winter Garden Theatres present ‘The Wizard of Oz’: The Toto-ly Awesome Family Musical by Matt Murray Director: Ted Dykstra Musical Director: Mark Camilleri Executive Producer Emeritus: Ross Petty Set Designer: Michael Gianfrancesco Lighting Designer: Bonnie Beecher Choreographer: Jennifer Mote Costume Designer: Ming Wong Sound Designer: Brian Kenny Projection Designer: Cameron Fraser Performers: Dan Chameroy, Jordan Bell, Georgia Bennett, Andrew Broderick, Jonathan Cullen, Saphire Demitro, Eddie Glen, Sierra Holder, Tyler Pearse, Julia Pulo, Kirstyn Russelle, Vanessa Sears. Previous Next

Back The Wizard of Oz: The Toto-ly Awesome Family Musical Now on stage at Toronto's Winter Garden Theatre, 189 Yonge Street. Credit: Dahlia Katz. Pictured: Julia Pulo as Dorothy and Dan Chameroy as Plumbum. Joe Szekeres “At times wickedly naughty. At other times, enjoyable family-friendly fun fare. This ‘Wizard of Oz’ is worth a visit.” Even though the iconic ‘Over the Rainbow’ wasn’t sung opening night (a bit schmaltzy, perhaps for a pantomime), I couldn’t help but feel a tad nostalgic about the past when Ross Petty came out to speak to the audience for a few minutes before the performance began. Petty’s glad that Canadian Stage will continue the panto tradition. I am too—a thousand thanks to CanStage for the smile it put on my face and those sitting around me. This Wizard of Oz panto is advertised on the Canadian Stage website with the tagline: “We’re not in Kansas anymore.” A good panto should transport the audience to a place beyond their usual surroundings, making them feel like they are in a different world for the moment. Cameron Fraser’s remarkable lifelike projection designs immerse the audience in the heart of the action. The story begins on a modern-day farm, and Michael Gianfrancesco’s functional set design, along with Bonnie Beecher’s warm lighting, suggests that the time is likely the beginning of summer. Ming Wong has chosen contemporary, suitable clothing styles for the characters of the twenty-first century. Additionally, for traditionalists, individuals and families can take pictures with Dorothy in her iconic gingham dress, accompanied by her three friends dressed similarly to how they appear in the film. The script does not specify whether this is the Gale farm, but that’s irrelevant. Thanks to Jennifer Mote’s lively and spirited choreography, we meet a vibrant group of enthusiastic young farmhands—Jordan Bell, Georgia Bennett, Sierra Holder, and Kirstyn Russelle—who show that life on the farm is not just about hard work; it’s also about having fun. These individuals will also become residents of TorOZto. Young Dorothy, played by Julia Pulo, has just graduated high school and feels restless about what her next phase in life will be. A sudden cyclone sweeps the young Dorothy away to the land of TorOZto, where she meets three of the other farmhands—Eddie Glen, Jonathan Cullen, and Saphire Demitro—who become the Scarecrow, the Tinman, and the Cowardly Lion. With the help of her fairy godmother, Plumbum (Dan Chameroy), Dorothy and her new friends work together to defeat the Wicked Witch of the West End, known as Nastina (played by Vanessa Sears), and to reach the Wizard of TorOZto. I’ll keep the identity of the wizard a surprise for now, but I’m sure the word is out. She works and lives in Toronto and is in charge. The Wizard will grant the wishes of the foursome on one condition - to bring back Nastina’s briefcase. In Matt Murray's often whacky text, we find all the beloved elements of a traditional pantomime. This time round, Toto, Dorothy’s dog, is a plushie. The audience is encouraged to boo the villain, and the cast frequently bursts into song and dance routines, sometimes featuring current music. The plot is filled with hilarious connections and commentaries that touch on the current political climate as well as social and cultural norms. Revealing too many of these clever references would spoil the enjoyment of this quirky take on Frank L. Baum’s cherished story. However, I’ll share one example: when the four friends find themselves in a crockpot at the end of Act One, I couldn’t help but laugh out loud, especially as I love preparing crockpot dinners. I will never look at crockpots the same way again! Ted Dykstra directs with a devilish sense of innuendo, dual meaning, and double takes especially with much of what Plumbum says or does. Musical Director/Arranger and Orchestrator Mark Camilleri brings a good sense of fun to the selected contemporary songs, effectively balanced by Brian Kenny’s noticed work in balancing the sound between the orchestra (sitting in the boxes stage right) and the singers. Julia Pulo is a sassy Dorothy right down to her ruby Blundstones which makes her even more appealing. Saphire Demitro’s savvy Cowardly Lion has a terrific musical number that brought appreciative applause from the audience. Eddie Glen’s teddy bear of a Scarecrow made him appealing to the children brought up on stage at the beginning of Act 2. The lanky Jonathan Cullen makes his Tin Man a pleasant reminder of the late Jack Haley. Vanessa Sears looks great and sounds divinely and wickedly decadent as Nastina, the Wicked Witch of the West End. For some reason, I couldn’t help but compare Sears to a modern-day Serena, Samantha Stephens’ cousin from the classic sitcom ‘Bewitched.’ And Dan Chameroy as beloved ‘Plumbum’. AAAAAAA!!!!!!! Chameroy’s first appearance elicited appreciative applause. As the French say - ‘il me manque.’ Literally meaning, he is missing to me or, in English “I missed him.’ Dan, we need the laughs and your humour right now. Chameroy is having one hell of a good time as the beloved fairy godmother, and many of the innuendos and double takes are once again worth the price of tickets. The youngsters may not get what he says periodically, but the adults will be rolling in the aisles with laughter. A cautionary note to parents or adults bringing young children: Please do your homework on what constitutes a pantomime. I’m not sure if the family behind me was expecting the 1939 "Wizard of Oz" film, but the little girl kept talking loudly to her father for several minutes, which distracted me. I understand that parents want to bring their kids to experience an opening night, but it’s important for them to teach their children proper theatre etiquette. It’s not the theatre's responsibility to do so. Running time: approximately two hours including one interval/intermission. ‘The Wizard of Oz’ The Panto runs until January 5 at the Winter Garden Theatre, 189 Yonge Street, Toronto. For tickets: canadianstage.com or call 416-368-3110. A CANADIAN STAGE PRODUCTION in association with the Elgin and Winter Garden Theatres present ‘The Wizard of Oz’: The Toto-ly Awesome Family Musical by Matt Murray Director: Ted Dykstra Musical Director: Mark Camilleri Executive Producer Emeritus: Ross Petty Set Designer: Michael Gianfrancesco Lighting Designer: Bonnie Beecher Choreographer: Jennifer Mote Costume Designer: Ming Wong Sound Designer: Brian Kenny Projection Designer: Cameron Fraser Performers: Dan Chameroy, Jordan Bell, Georgia Bennett, Andrew Broderick, Jonathan Cullen, Saphire Demitro, Eddie Glen, Sierra Holder, Tyler Pearse, Julia Pulo, Kirstyn Russelle, Vanessa Sears. Previous Next

Back TITANIQUE Now on stage at Toronto's CAA Theatre, 651 Yonge Street Credit: Marie-Andrée Lemire Pictured: The cast of TITANIQUE Joe Szekeres A grand thrill of a ride. A riotous, respectful and endearing love note to one of Canada’s grand chanteuses.” ‘Titanique’ is a grand thrill of a ride that leads to a spectacular jukebox musical ending. The production is an absolute joy to see and hear. A tour of the Titanic Museum is currently underway. Dion (a strikingly beautiful Véronique Claveau) wears a stunning gold lamé dress (the costume design is by Alejo Vietti) that accentuates her shapely legs. Dion then interrupts the tour guide (Christopher Ning) and shares her perspective detailing what happened to Jack, Rose, and the other characters on the night the great ship sank in the James Cameron film. Currently, Titanique also plays off-Broadway. The choice to stage the production in the CAA Theatre is good because it has the look and feel of an off-Broadway house. The fact that productions staged at the CAA are called ‘off Mirvish’ also lends credence to selecting this specific house of the company. Upon entering the space, the curtain is closed, creating a sense of anticipation for the pre-show. Designer Paige Seber has chosen a stunning aqua-blue lighting design to evoke the feeling of being at sea, setting the stage for the story. In front of the curtain, set designers Gabriel Hainer Evansohn and Grace Laubacher, working for Iron Bloom, have placed some replica props from the film, giving the audience a glimpse of what is to come. The blue Heart of the Ocean necklace is suspended above the stage, which plays a significant role in both the film and the musical. Upon opening the curtain, we have entered not the Titanic but the ship from the musical ‘Anything Goes.’ It’s explained at the end of the musical why this connection exists. Alejo Vietti’s costumes aptly reflect the characters from the film's era, most notably Cal, Rose, and Molly Brown’s attire. Music Director Nick Burgess elicits stunning vocal renditions of Nicholas James Connell’s orchestrations and arrangements of some popular songs by Dion and other notable artists. Lawrence Schober’s careful attention to sound design highlights this collaboration. The achieved balance between the band and singers is heavenly. I could hear every lyric. ‘River Deep Mountain High’ and ‘Tell Him’ are only two examples where the vocals soared right to the roof of the CAA Theatre. Background vocalists Queenie, Andre Anthony and Rose Messenger back the musical numbers with confidence and style. Director Tye Blue clearly understands that his, Marla Mindelle's, and Constantine Rousouli's sublime book must be played as broadly as possible for maximum effect. On this media night, the comedy never veered out of control. In his Director’s Note, Blue comments that the production is “a waterfall of silliness and an unhinged fever dream of a musical.” Several adult references are a tad blue (the most obvious is Christopher Ning's SEAMAN), so if you bring a guest, ensure the person can handle the innuendo. Let's lighten up, though, okay? We all need to laugh. Several ensemble cast members are worth mentioning. Erica Peck embodies a spirited and sassy Molly Brown, even mimicking the distinctive walking style of Kathy Bates' portrayal in the film. Mike Melino plays Luigi and Victor Garber, clearly differentiating the two characters through his distinct vocal delivery. While Luigi's exaggerated Italian accent adds humour, it never crosses the line into disrespect or offensiveness. Christopher Ning is a riot (when you get the reference) as the Iceberg Bitch. I don’t want to spoil it here. I had to think about it for a couple of minutes. When it finally became clear to me, I started laughing as I waited for the subway train home. Ning’s Peabo Bryson shares a musical duet with Claveau that made me have goosebumps. I closed my eyes at one point and I could have sworn I was actually listening to Peabo and Céline. Mariah Campos is a deliciously bitchy and spoiled rich heiress, Rose. Muscular, hunky bad boy Michael Torontow packs a punch as Rose’s hotheaded and jealous fiancé, Cal. As Rose’s flighty mother Ruth, Constant Bernard is a hoot. He has a show-stopping number that is priceless to watch. As tight-fitted pants-wearing Jack (who eventually falls for Rose), Seth Zosky moves across the CAA stage with bravura and intent. Véronique Claveau is ‘Titanique’ as Céline Dion. There’s an Evita-like quality in Claveau’s performance as she moves and waves her arms and hands for a specific purpose. Claveau naturally adopts the vocal and speaking inflections of Canada’s chanteuse, even curling her mouth when she sings and speaks to get the ‘r’ sound out. I can’t help but smile each time she appears on stage. Claveau and director Blue are astute enough to poke fun without being malicious, especially regarding Dion's diagnosis of 'stiff person syndrome.' 'Titanique' is so damn much fun. Even if one isn’t a Céline Dion fan (as is my guest), the ensuing hilarity is alone worth the price of a ticket. It’s the perfect Christmas gift for the musical theatre enthusiast/geek, theatre kid or whatever term of endearment you use. The smile never left my face for the entire 100 minutes. ‘Titanique, c’est pas fantastique. C’est merveilleux!’ (It’s not fantastic. It’s marvellous!) Running time: approximately 100 minutes without an interval/intermission. ‘Titanique’ runs until January 12, 2025 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH, in co-production with the Segal Centre present ‘TITANIQUE’ Book by Marla Mindelle, Constantine Rousouli and Tye Blue Directed by Tye Blue Music Director: Nick Burgess Orchestrations and Arrangements: Nicholas James Connell Choreographer: Ellenore Scott Set Designer: Gabriel Hainer Evahsohn & Grace Laubacher for Iron Bloom Sound Designer: Lawrence Schober Costume Designer: Alejo Vietti Lighting Designer: Paige Seber Stage Manager: The. John Gray Performers: Véronique Claveau, Andre Anthony, Constant Bernard, Mariah Campos, Queenie, Mike Melino, Rose Messenger, Christopher Ning, Erica Peck, Michael Torontow., Seth Zosky, Tess Benger, Dave Comeau, Kaylee Harwood. Previous Next

Back A CHRISTMAS CAROL by Charles Dickens with adaptation by Justin Haigh Now on stage at Toronto's Campbell House, 160 Queen Street West. Photo of Thomas Gough as Scrooge from the 2023 production courtesy of Soup Can Theatre Joe Szekeres "Dear Santa: I hope "A Christmas Carol" becomes an annual tradition for Toronto theatregoers at Campbell House Museum." Three Ships Collective and Soup Can Theatre continue the immersive walking experience of ‘A Christmas Carol’ set within the rooms of the storied Campbell House Museum. The story begins in the Scrooge and Marley shop on Christmas Eve. The miserly Ebeneezer (Thomas Gough) and his underpaid clerk Bob Cratchit (Justin Hay) are working right up until the closing time at 5:30 PM. Scrooge has a few visitors who wish him well for the holiday, but he dismisses them all. He warns Bob that if he wants Christmas Day off, he must arrive at work early the following morning to make up for it. When Scrooge arrives home, he fires his housekeeper, Mrs. Dilber (Brianne Tucker), for insubordination. That night, Ebenezer is visited by the ghost of his former business partner, Jacob Marley (Spencer Jones), who died seven years ago this very night. Jacob warns Scrooge to change his ways and informs him that three spirits (Eliza Martin and Jonnie Lombard in dual roles) will visit this night to help him change his perspective on the world and those who have been a part of his life. Visiting the beautiful and historic museum is a delightful experience that sets the tale in motion. In the guise of Marley, Jones guides the audience around the house to the rooms. Claudia Matas has curated a collection of Dickensian attire featuring faithful replicas from the era. This collection includes Scrooge's top hat, vest, pants, shirt, and shoes, and Mrs. Dilber's working-class dark dress, shawl, and hat. The Fezziwig Christmas party showcases Matas’ terrific work in her costuming. Credit to playwright Justin Haigh for his clever text adaptation. One subtle change enhances this production and makes it hit right at the heart: instead of having Scrooge and the Ghost of Christmas Yet to Come stand in front of a headstone, Haigh positions the scene in Ebenezer's bedroom, where a corpse lies beneath a bed sheet. This choice has a rather profound emotional impact. Scrooge's housekeeper, Mrs. Dilber, steals the fine bed linen while a corpse lies on the bed. The emotional weight of the moment is further intensified when Scrooge pulls back the cover and realizes who is underneath the sheet. However, one line is missing from the text that I wish would be reinstated. Bob Crachit’s son, Tiny Tim (Ava Marquis), concludes the prayer before Christmas dinner with “God bless us, everyone.” Please restore that line, Justin (and director Sare Thorpe.) It’s an essential Christian reference, especially from the literary context of the time. Director Sare Thorpe is skillful. Several actors play dual roles and Thorpe elicits authentic, memorable performances. The Fezziwig Christmas Eve party is a delightful experience from listening to the carolling and watching the dancing, beautifully enhanced by Alecia Pagnotta's music direction and Pratik Gandhi's composition. Luke Marty delivers an impressive performance as Fred, Scrooge’s nephew, and Mr. Fezziwig, Scrooge’s first boss. As Fred, Marty exudes compassion, particularly when his uncle unexpectedly arrives at the party near the end of the play. In his portrayal of Fezziwig, Marty showcases a delightful sense of mischief, primarily through his matchmaking efforts to pair Ebenezer with his first love, Belle, sweetly played by Justine Christensen. Thankfully, Christensen rightfully chooses not to present the breakup scene with Scrooge in a too-sentimental, schmaltzy manner. Justin Hay captures the definite essence of Bob Cratchit, a man who wants the best for everyone. Cratchit strives to be a good father and a loyal employee, always hoping for the well-being of his loved ones. However, Bob is also a human being with emotions and Hay wonderfully reflects this reality in his performance. He experiences exhaustion, sometimes feels defeated, and carries the heavy burden of worry for his ailing son, Tiny Tim. It was heart-wrenching to witness Tiny Tim's absence at the Christmas dinner—a moment that brought a tear to my eye, underscoring (and personally understanding) that this void can never be filled. A youthful Spencer Jones portrays Jacob Marley. Jones appears ghostly, wearing shackles and appropriately dressed for the character. Initially, I found his casting puzzling and questioned whether he was too young for the role. No, he’s not. The youthful-looking Marley is the figure Scrooge likely remembers in his mind. To contrast Jones’ youthful appearance, the ghoulish eye makeup gives an older, sinister look that is not of the world of mere mortals. At one point, Jones momentarily towers over Scrooge by raising his voice to show who’s in control. This is a significant moment in this ghostly tale. Scrooge is at a crossroads regarding his mortality and how he has treated others in the past. Thomas Gough’s Ebenezer is one mean S.O.B. His discussion about what to do regarding one of his clients and the foreclosure of his house on Christmas Eve is despicable. Even his conversations with the first two spirits do not significantly change his behaviour about his interaction with others. The final encounter with the Ghost of Christmas Yet to Come marks Scrooge's breaking point in his bedroom. Overwhelmed with anxiety about what he sees on the bed, Scrooge lashes out and declares his intention to become a better man. Gough’s performance at the bedside is neither melodramatic nor exaggerated; instead, he remains grounded in the scene, allowing the audience to fully understand and appreciate both the meaning of his words and their implications. The audience listens intently and is touched by what we hear. At least I was. This ‘Christmas Carol’ staging made me think more than usual this year about what I just witnessed. Seven months ago, my mother died, and it has been a year of personal loss. But it takes a life-altering event for us to take stock of our lives and what lies ahead. Scrooge certainly does that by the end. It’s a fact that we all will continue taking stock at various points in our lives. This year, my Christmas wish is for Soup Can Theatre and Three Ships Collective to continue producing the show annually at Campbell House. I understand tickets are sold out for the rest of this year’s run. However, I strongly encourage you to get your name on the waiting list. Oh, and God bless us, everyone. Merry Christmas and Happy Holidays. Running time: approximately one hour and 40 minutes with no intermission. The production takes place at the Campbell House Museum, 160 Queen Street West, Toronto. For further information and to get your name on a waiting list (which I hope you will do), visit christmacarolto.com. THE THREE SHIPS COLLECTIVE with the support of SOUP CAN THEATRE presents: ‘A Christmas Carol’ by Charles Dickens with adaptation by Justin Haigh Director/Co-Producer: Sare Thorpe Playwright/Assistant Director/Co-Producer: Justin Haigh Composer/Music Director Emeritus: Pratik Gandhi Music Director/Production Manager/Co-Producer: Alecia Pagnotta Costumes and Props Designer: Claudia Matas Stage Manager: Bella Szpala Performers: Thomas Gough, Chloe Bradt, Justine Christensen, Nicholas Eddie, Justin Hay, Michael Hogan, Spencer Jones, Jonnie Lombard, Ava Marquis, Eliza Martin, Luke Marty, Kiori Mirza Waldman, Annie Lockerbie Newton, Brianne Tucker, Kendelle Parks Previous Next

Young People 'Jungle Book', A New Adaptation Click Here 'A Wrinkle in Time' by Madeleine L'Engle with adaptation for the stage by Thomas Morgan Jones Click Here 'Celestial Bodies' by Jacob Margaret Archer Click Here 'Russell's World' written and directed by Herbie Barnes, Artistic Director Click Here 'The Adventures of Pinocchio' Click Here 'The Fixing Girl' by Kevin Dyer Click Here "It's A Wonderful Life: A Live Radio Play" adapted by Joe Landry Click Here 'A Year with Frog and Toad' by Robert Reale and Willie Reale Click Here 'Frog Song - A New Children's Opera' Book by Taylor Marie Graham; Music by William Rowson A WORLD PREMIERE Click Here 'Snow White' adapted by Greg Banks Click Here 'The Darkest Dark' adapted for the stage by Jim Millan and Ian MacIntyre and based on the book by Chris Hadfield and Kate Fillion Click Here 'The Wolves' by Sarah DeLappe Click Here

Back 'Unbelievably Believable' by Catherine Maleikova Now on stage at Toronto's Red Sandcastle Theatre, Ivan Kaydash Dave Rabjohn "The seasonal holidays always come with exciting new entertainment, especially for youngsters." 'Unbelievably Believable,’ a world premiere by Catherine Maleikova, is no exception. This short but mighty production fires up the imaginations of six-year-olds and six-year-olds at heart. Produced by Twisted Dog Theatre and hosted by Red Sandcastle Theatre, this play tells the story of two mice and their wild imaginations through a variety of theatrical forms. Puppetry, magic, music, dance, digital projections, and special effects swirl together and happily remind children (and adults) that there is more to creativity than screen time. A trio of energetic actors relate the puppet mice’s imaginations. The three versatile characters run through dance, song, drama, and humour, portraying a variety of dream-like sequences. Having their sleep disrupted on a December evening, we encounter fire dragons, strange ocean, singing birds, and strange puppets. Friendships are made or reinforced. Direct references to local Toronto communities address the playwright’s wish “to celebrate my city.” Again, she suggests this is “a love letter to Toronto, to the magic of the city at Christmastime.” A final large set piece, an over-sized traffic light, symbolizes the mainstay of a busy city community. Beginning and ending with some questionable choreography, the six-year-olds were undaunted as they danced on their chairs while their parents tried to stave broken limbs. Gregory Katsenelson begins the play with a creative routine, balancing a book, a drink and a pillow. The sequence gets wilder as he tries to juggle props and sit down simultaneously. With round black glasses, he has a Buster Keaton style that entertains throughout the program. Katie Crompton dazzles with much of the main puppetry sequences. An Oscar-the-Grouch-style garbage can is produced, and a seagull-like character emerges. He is in full operatic song voiced with vigour by Crompton. He might be part stork, as there is a reference to a baby delivery, but dreams have that ability to blend reality. A smaller chicken-like puppet is voiced by Crompton with the cutest chicken sound, and the six-year-olds giggle. Sophie St. Jean rounds out the cast, leading a vibrant and entertaining rap number. She also doubled as choreographer. Many special effects, simplistic but effective, included the falling of paper snow and the heart-warming clip-clop of horses on the Toronto streets. The program lists several designers, from puppets to lighting to projections, but director and writer Maleikova seems to be the leading force. Toronto theatre (especially during the holidays) can be pricey for parents and overwhelming for youngsters. The intimacy of Red Sandcastle and the simple fun of this script are refreshing alternatives. This writer had as much fun with the pint-sized audience as with the play. I asked one young gentleman what his favourite part was. He puffed out his chest and answered, "The scary part—but I’m not scared!" God bless his little soul. ‘Unbelievably Believable’ by Catherine Maleikova Presented by Twisted Dog Theatre Performers – Katie Crompton, Gregory Katsenelson, Sophie St. Jean Director – Catherine Maleikova Puppet designers – Natalie Bakulev, Denis Gonobolin Choreographer – Sophie St. Jean Runs through December 15, 2024. Tickets – twisteddog.ca Previous Next

Back A Christmas Carol by Charles Dickens with adaptation by Justin Haigh Now on stage at Toronto's Campbell House Museum, 160 Queen Street West Photo of Thomas Gough as Scrooge taken from the 2023 production courtesy of Soup Can Theatre Joe Szekeres "Dear Santa: I hope "A Christmas Carol" becomes an annual tradition for Toronto theatregoers at Campbell House Museum." Three Ships Collective and Soup Can Theatre continue the immersive walking experience of ‘A Christmas Carol’ set within the rooms of the storied Campbell House Museum. The story begins in the Scrooge and Marley shop on Christmas Eve. The miserly Ebeneezer (Thomas Gough) and his underpaid clerk Bob Cratchit (Justin Hay) are working right up until the closing time at 5:30 PM. Scrooge has a few visitors who wish him well for the holiday, but he dismisses them all. He warns Bob that if he wants Christmas Day off, he must arrive at work early the following morning to make up for it. When Scrooge arrives home, he fires his housekeeper, Mrs. Dilber (Brianne Tucker), for insubordination. That night, Ebenezer is visited by the ghost of his former business partner, Jacob Marley (Spencer Jones), who died seven years ago this very night. Jacob warns Scrooge to change his ways and informs him that three spirits (Eliza Martin and Jonnie Lombard in dual roles) will visit this night to help him change his perspective on the world and those who have been a part of his life. Visiting the beautiful and historic museum is a delightful experience that sets the tale in motion. In the guise of Marley, Jones guides the audience around the house to the rooms. Claudia Matas has curated a collection of Dickensian attire featuring faithful replicas from the era. This collection includes Scrooge's top hat, vest, pants, shirt, and shoes, and Mrs. Dilber's working-class dark dress, shawl, and hat. The Fezziwig Christmas party showcases Matas’ terrific work in her costuming. Credit to playwright Justin Haigh for his clever text adaptation. One subtle change enhances this production and makes it hit right at the heart: instead of having Scrooge and the Ghost of Christmas Yet to Come stand in front of a headstone, Haigh positions the scene in Ebenezer's bedroom, where a corpse lies beneath a bed sheet. This choice has a rather profound emotional impact. Scrooge's housekeeper, Mrs. Dilber, steals the fine bed linen while a corpse lies on the bed. The emotional weight of the moment is further intensified when Scrooge pulls back the cover and realizes who is underneath the sheet. However, one line is missing from the text that I wish would be reinstated. Bob Crachit’s son, Tiny Tim (Ava Marquis), concludes the prayer before Christmas dinner with “God bless us, everyone.” Please restore that line, Justin (and director Sare Thorpe.) It’s an essential Christian reference, especially from the literary context of the time. Director Sare Thorpe is skillful. Several actors play dual roles and Thorpe elicits authentic, memorable performances. The Fezziwig Christmas Eve party is a delightful experience from listening to the carolling and watching the dancing, beautifully enhanced by Alecia Pagnotta's music direction and Pratik Gandhi's composition. Luke Marty delivers an impressive performance as Fred, Scrooge’s nephew, and Mr. Fezziwig, Scrooge’s first boss. As Fred, Marty exudes compassion, particularly when his uncle unexpectedly arrives at the party near the end of the play. In his portrayal of Fezziwig, Marty showcases a delightful sense of mischief, primarily through his matchmaking efforts to pair Ebenezer with his first love, Belle, sweetly played by Justine Christensen. Thankfully, Christensen rightfully chooses not to present the breakup scene with Scrooge in a too-sentimental, schmaltzy manner. Justin Hay captures the definite essence of Bob Cratchit, a man who wants the best for everyone. Cratchit strives to be a good father and a loyal employee, always hoping for the well-being of his loved ones. However, Bob is also a human being with emotions and Hay wonderfully reflects this reality in his performance. He experiences exhaustion, sometimes feels defeated, and carries the heavy burden of worry for his ailing son, Tiny Tim. It was heart-wrenching to witness Tiny Tim's absence at the Christmas dinner—a moment that brought a tear to my eye, underscoring (and personally understanding) that this void can never be filled. A youthful Spencer Jones portrays Jacob Marley. Jones appears ghostly, wearing shackles and appropriately dressed for the character. Initially, I found his casting puzzling and questioned whether he was too young for the role. No, he’s not. The youthful-looking Marley is the figure Scrooge likely remembers in his mind. To contrast Jones’ youthful appearance, the ghoulish eye makeup gives an older, sinister look that is not of the world of mere mortals. At one point, Jones momentarily towers over Scrooge by raising his voice to show who’s in control. This is a significant moment in this ghostly tale. Scrooge is at a crossroads regarding his mortality and how he has treated others in the past. Thomas Gough’s Ebenezer is one mean S.O.B. His discussion about what to do regarding one of his clients and the foreclosure of his house on Christmas Eve is despicable. Even his conversations with the first two spirits do not significantly change his behaviour about his interaction with others. The final encounter with the Ghost of Christmas Yet to Come marks Scrooge's breaking point in his bedroom. Overwhelmed with anxiety about what he sees on the bed, Scrooge lashes out and declares his intention to become a better man. Gough’s performance at the bedside is neither melodramatic nor exaggerated; instead, he remains grounded in the scene, allowing the audience to fully understand and appreciate both the meaning of his words and their implications. The audience listens intently and is touched by what we hear. At least I was. This ‘Christmas Carol’ staging made me think more than usual this year about what I just witnessed. Seven months ago, my mother died, and it has been a year of personal loss. But it takes a life-altering event for us to take stock of our lives and what lies ahead. Scrooge certainly does that by the end. It’s a fact that we all will continue taking stock at various points in our lives. This year, my Christmas wish is for Soup Can Theatre and Three Ships Collective to continue producing the show annually at Campbell House. I understand tickets are sold out for the rest of this year’s run. However, I strongly encourage you to get your name on the waiting list. Oh, and God bless us, everyone. Merry Christmas and Happy Holidays. Running time: approximately one hour and 40 minutes with no intermission. The production takes place at the Campbell House Museum, 160 Queen Street West, Toronto. For further information and to get your name on a waiting list (which I hope you will do), visit christmacarolto.com. THE THREE SHIPS COLLECTIVE with the support of SOUP CAN THEATRE presents: ‘A Christmas Carol’ by Charles Dickens with adaptation by Justin Haigh Director/Co-Producer: Sare Thorpe Playwright/Assistant Director/Co-Producer: Justin Haigh Composer/Music Director Emeritus: Pratik Gandhi Music Director/Production Manager/Co-Producer: Alecia Pagnotta Costumes and Props Designer: Claudia Matas Stage Manager: Bella Szpala Performers: Thomas Gough, Chloe Bradt, Justine Christensen, Nicholas Eddie, Justin Hay, Michael Hogan, Spencer Jones, Jonnie Lombard, Ava Marquis, Eliza Martin, Luke Marty, Kiori Mirza Waldman, Annie Lockerbie Newton, Brianne Tucker, Kendelle Parks Previous Next

Back ORACULUM: a Buddies in Bad Times and Denim & Pythia co-production. Now on stage at Toronto's Buddies in Bad Times Theatre, 12 Alexander Street. Jeremy Mimnagh Geoffrey Coulter, actor, director, adjudicator, arts educator “A journey of self discovery and divine mystery” For 45 years, Buddies in Bad Times Theatre has been Toronto’s leading destination for artistically rigorous alternative theatre and a world leader in developing queer voices and stories for the stage. They have year-round offerings of queer theatre, new works festivals, artist residencies, and training and education initiatives. Their mandate has always been to develop, promote, and preserve stories and perspectives that are challenging and alternative. Buddies is proud to premiere its newest production, “Oraculum” a provocative two-hander play born from the enigmatic imaginations of two of Canada’s premier drag artists, Denim (Emerson Sanderson) and Pythia (Christos Darlasis). This opening night sold-out performance was sassy, colourful and completely over-the-top with glitz, glamour and plenty of silicone. These two dames of drag take us on a journey of self-discovery and divine mystery, as filtered through the virtual crystal ball of an online psychic reading website. These two divas of divine dress-up act, dance, lip sync, and flirt in costumes that run the gamut from garish and glittery to sexy and scandalous. Gender and spirituality are at the centre of this otherworldly spectacle. The plot is muddy and ambiguous; something about two best friends, each being interviewed throughout by a disembodied voice for some fictitious reality show. Short scenes thereafter reveal that one is trying to manipulate the life of the other by pretending to be an online psychic, purposely doling out bad advice and silly promises. It turns out these two are not really friends at all but back-stabbing, jealous and villainous vixens. Random acts of dancing and lip-syncing to pop music ensue. These two (with the onstage help of stage manager Sandy Plunkett) are clearly having fun being their most audacious, authentic, if somewhat scattered, selves. Set, projections and lighting are courtesy of Cosette “Ettie” Pin. The set is simple but functional. Two left and right arches flank the raised stage, and a more prominent arch centre stage. Giant, fluffy cotton ball clouds are suspended above. Upstage curtains on both sides make easy entrance and egress for our two players. The arches look a little flimsy. I had visions of the centre one toppling forward as it was being wheeled forward and back. The smaller side arches are strung with sheer netting, allowing the excellent projections to be cast on an invisible screen. Pin’s clever lighting design nicely accentuates the bright pastels of the costumes. However, the spots on Pythia and Denim at either side of the stage are harsh and shadowy, obscuring some of their exotic facial expressions. Director ted witzel stages the players effectively, utilizing the entire space judiciously. A notable issue is speaking voice. While I appreciate their scant costumes preclude the use of body mics, Denim and Pythia need to increase their volume significantly and slow their rapid-fire delivery. Much of their dialogue was lost to my ears and several jokes escaped me. As the Buddies mantra proclaims, “Queerness is a divine mystery”. Certainly, “Oraculum” is its empyreal embodiment – A pair of glamourous shapeshifters in a bewildering tale that is unabashedly in-your-face outlandish, surreal and sensually preposterous. The opening night audience was quick to reward our buxom beauties with a standing ovation for all the glitz, glitter and brazen bawdiness. Buddies has always pushed boundaries, challenged norms, and invited artists and audiences to explore expansive, provocative, and oppositional forms of expression. “Oraculum” checks all the boxes. Theatre doesn’t get much queerer than this. Buddies in Bad Times Theatre presents a Buddies in Bad Times and Denim & Pythia co-production. “Oraculum” Running time: Approx. 75 minutes with no intermission. The production runs until December 14 at Buddies in Bad Times Theatre, 12 Alexander Street, Toronto M4Y 1B4. For tickets call the box office at 416-975-8555 or www.buddiesinbadtimes.com/tickets/ Performers: Denim, Pythia, Sandy Plunkett Previous Next

Back Jessica B. Hill Theatre Conversation in a Covid World Ann Baggley Joe Szekeres I’ve seen some of the extraordinary work from The Stratford Festival in which Jessica performed: Mother’s Daughter, All My Sons and one of my favourites: ‘The Crucible’ Jessica is an actor and writer. She holds a BA from McGill University in English Theatre Studies and is a graduate of Stratford Festival’s Birmingham Conservatory for Classical Theatre. She has been a member of the Stratford Festival for the last five seasons. Performing lead roles in The Comedy of Errors, Brontë: The World Without and Mother’s Daughter, and appearing in The Crucible, Paradise Lost, The Changeling, All My Sons, and Bunny. When Covid closed the theatres last March, she was entering her sixth season with the Festival and preparing to play Lady Anne in Richard III and Helena in All’s Well That Ends Well. Film and TV credits include The Boys, What We Do In The Shadows, Slaxx, On the Basis of Sex, and Hero: The Life and Times of Ulric Cross. She’s a recipient of the Mary Savidge Award that recognizes an actress who has shown outstanding dedication to her craft. Fluently bilingual, she works both in English and French in theatre, voice, film, and television. Her first play, The Dark Lady, is currently being co-developed with Shakespeare in the Ruins and The Stratford Festival, with support from the Manitoba Association of Playwrights and Shakespeare on the Saskatchewan. It imagines a modern take on Emilia Bassano, the woman who allegedly inspired Shakespeare’s Dark Lady sonnets. The idea began as an intertextual poetry reading put on as part of the outdoor Here for Now Theatre Festival in Stratford, last summer. We conducted our conversation through Zoom. Thank you once again, Jessica, for the opportunity to hear and to listen to your voice about these important issues. In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? (a frustrated sigh first from her)…Let’s go with okay. I think we’ve been very, very lucky. My immediate family and I are healthy. We’re taking every precaution we can navigating through this. Of course, we get cabin fever, we get bored and sometimes depressed and frustrated but we’re getting better at dealing with it and helping each other deal with it. Sometimes it’s as easy as, “Oh, let’s go for a walk”, and other times it takes a bit more time. It comes in waves; I think everyone is starting to feel that. It’s not always easy to stay focused or motivated but I feel very, very lucky that I have my family nearby here in Montreal. The curfew is still in place here. We’ve don’t have any real reason to leave the house after 8 pm here in Montreal so that hasn’t really affected us, but it’s more the idea of the curfew which is sometimes hard. How have you been spending your time since the theatre industry has been locked up tight as a drum? Oh, boy, okay. I guess I should start from the top. Well, the first few months of spring were terrible. We had been going full speed ahead in rehearsals at Stratford and suddenly it honestly felt like slamming into a brick wall. It was shock. It took a while to overcome and to get my bearings back. What really saved me creatively was suddenly having to write a play on a tight deadline. The Here for Now Festival is based in Stratford. They reached out to me in June, I think, and asked if I had something I was working on they’d like to present for the small outdoor crowd in July. They were banking on the fact we could still gather outside, and I had nothing, but I said, Yes, anyway. Whether it was Insanity, depression or yearning, and I spent a month pouring myself into an idea I guess I always been thinking about but never crystallized into a proper idea, but now I had the time to delve into the script. It was a really interesting time because the Here for Now Festival in Stratford was probably one of the first outdoor performances coming out of lockdown, and everyone was still feeling quite tentative. We got to perform the script four times to this amazing and generous crowd of people, just the sweetest audience, so so generous. I think that was the spark I needed to keep the fire burning for me. It reminded me of how important and special it was to gather, that magic of sharing an experience with an audience. I thought, “Well, just because I can’t perform doesn’t mean I can’t work.” This idea of writing and generating the work allowed me to work on my craft in an exciting new way and to develop as an artist even if I can’t perform. Just because there is no performance doesn’t mean there is no theatre. The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else? I wouldn’t call it an escape. A break from performance, but theatre, storytelling and ideas are everywhere all the time. I use the word ‘reflection’ or in French we use the word ‘ressourcement’, the idea of returning back to sources of inspiration. Covid has given us a lot of time to reflect, to take stock, and to contemplate and replenish our creativity as much as we can. We never wish for this much time between gigs as we always have this frenetic pace in going from one job to the next. So, it’s un-stabilizing to have this much time and uncertainty. Since we’ve been given this time, I can’t help but want to use it as best I can. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? I can’t make that call as I have no idea. I’d love for this to be wrong and to be pleasantly surprised. If Covid has taught us anything, there’s nothing set in stone, right? I think it’ll be bumpy and lopsided as we return. We’re not all in the same boat, but we’re in the same storm. Because of the fluctuating protocols and case numbers and vaccine roll outs now, some theatres might re-open before others. There’ll probably be a game of stop and start as well, so I don’t think we can see it as a linear path just yet. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? Transformed is the word, but it’s a metamorphosis. It’s a feeling of the experience itself before it becomes wisdom (if that makes any sense), knowing something is important while it’s happening but not quite sure what part of the story you should be holding onto. I feel like I’m a completely different person from whom I was last March, and I’m sure I’m not the only one who says that. The most important coming out of this, for me, is a sense of responsibility. I’ve been thinking a lot about the stories we tell in the theatre and how we choose to tell them. What is that responsibility that comes next? We’ve been given this time to re-imagine what theatre is and can be. It’s going to be transcendent. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? Well, the danger should be in the work, and not in the reality. For the work to be dangerous, we have to feel trust, security and safety in the rehearsal space. No good theatre will come out of actors fearing for their lives or for their loved ones. This also ties into how do we come back with precautions on how to return as safely as we can. It’s going to take time probably to feel safe again. I think the fear, the grief, the isolation, the frustration, that sense of danger you’re talking about, can’t help but make its way into an artist’s work, the ethos, I’m not sure how yet as we’re still in the thick of it, but I’ll have to see where and how it comes. The optimist in me wants to think that all that danger we’re living through will help create the most extraordinary and electric and profoundly intimate art. After months and months of isolation, watching people connect on stage will be healing and exhilarating. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? I had trouble with this question….Hmmmmm….. There’s an openness that I felt; this willingness to just let the feelings do their thing – to be vulnerable, authentic, ugly, brutally honest. And it’s a realization, upon a realization, upon a realization that you can only really live in the present moment. I keep thinking of Rilke’s poem: “Let everything happen/Beauty and terror/Just keep going/No feeling is final.” It’s all material; it’s all raw - the stuff of what you can build out of (if that makes sense). It’s all raw material that you can source from later on. I’m already a sensitive person to begin with. I’m a hugger and I don’t just hug out of formality. I need to feel a connection to the other person. I need to feel that fleeting moment of a shared presence like, ‘Yah, that’s here.” Hugs might be gone for awhile. We’re going to have to open ourselves for a new definition of theatre when we get back because it’s going to take time. Outdoor theatre is where it starts. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? Oh, hugely so because I’ve always wanted to write and I’ve never given myself the time to do so. The fall and winter has been developing my curiosity in my playwright’s voice. I’m developing a whole other side and artistic practice. It’s all curiosity. It is what has been keeping me going and getting curious about connection between different art forms, about different sources of inspiration and letting ideas bounce off each other. Things that don’t necessarily connect are now interconnecting in ways I hadn’t thought possible which surprise me and excite me. There’s so much baggage from Covid. It’s isolated us as a community, everything from meeting each other to practicing what we love. There’s so much time right now to get curious about things and that’s the silver lining to this whole thing of Covid. When things get going again, I still want to hold onto that feeling of openness in being curious about other things. I’m back into drawing and sketching. Follow Jessica on Instagram: @jessicabhill AND Twitter: @bhilljessica Follow Jessica on her website: www.jessicabhill.com . Previous Next

Back Eric Woolfe "I find theatre artists are often really conservative in their imagination...We’re reluctant as theatre artists to engage the imagination of our audiences" Dahlia Katz Joe Szekeres Artistic Director Eric Woolfe of Eldritch Theatre thinks of himself as a guy who works in show business. He tries not to refer to himself as an artist. Born into the performing arts profession, Eric grew up in London, Ontario, and worked at the Grand Theatre. His first professional job at ten was in the Grand’s production of ‘A Christmas Carol,’ given to him by Director Bernard Hopkins in 1982. Actor Barry Morse appeared as Scrooge as did London Ontario actor Tom McCamus as Bob Cratchit. By age fifteen, Eric took semesters off school and worked across the country for the last forty-some years. Eldritch bills itself as Toronto’s only theatre company specializing in ghoulishly giddy tales of horror and the uncanny. During our Zoom call, Eric enlightened me further, saying ‘Eldritch’ is an old archaic word that means ‘strange and eerie.’ It became a bit of a joke that the name Eldritch was used as the title of the theatre company: “Our first show was for the Summerworks Festival almost 25 years ago. It was called ‘The Strange & Eerie Memoirs of Billy Wuthergloom.” We were running overtime by about a half hour for the time limit the Festival gave us, so I came in with a hacked piece of the version of the script which fit in the time. Just as a joke for the director, I crossed out the title and wrote ‘Billy’s Eldritch Diary’ to shorten it, and we thought, why not call the company The Eldritch Theatre?” Eldritch Theatre operates from Toronto’s Queen Street East’s Red Sandcastle Theatre. They were two separate entities until they married when Eldritch took over the space in December 2021. The art form of puppetry remains an important part of Eldritch Theatre. The first show performed by Eldritch was a one-person show. Rod Beattie travelled with the Wingfield plays nationwide. Eric thought if he did a one-person show, he would play all the different characters while Rod did his own show. Woolfe compared it to writing symphonies in Vienna in the time of Beethoven. Eldritch puppets are both strangely grotesque yet beautifully alluring simultaneously. That’s the trump suit for Eric. Yes, puppetry is an art form, but he quickly discovered that it exists in the audience's mind. In turn, it is the audience that creates the performance: “A puppet is an inanimate object being wiggled by someone. It doesn’t have sentience. It doesn’t move on its own and we know it … Nobody is fooled, but the audience creates the existence of that puppet character in your mind when you’re watching it...we imbue that inanimate thing with life.” Woolfe’s extensive knowledge of puppetry kept me on his every word. Since the supernatural and horror plays into Eldritch’s season, using a puppet can connect further with an audience, more so than, say, a character in a costume. Eric spoke about an earlier play from Eldritch about Jack the Ripper. The first scene was a dream sequence of one of the last victims who was having a nightmare about Alice in Wonderland and a giant, 15-foot-tall caterpillar puppet. That puppet could be funny one moment, threatening, sexual, aggressive, angry, weird, and jump from these different tones and from word to word and line to line because he was a puppet. If that exact text were done with an actor in a giant caterpillar costume, the only thing that caterpillar could be would be vaguely stupid. There’s no same ability to stretch tone and get under people’s skin when using human beings. Often puppetry and magic go together at Eldritch: “Magic is an opposite art form of puppetry…if it’s a puppetry performance, we are complicit to suspend disbelief to make that puppet come to life because wonder has been created. If it’s a magic trick, it works when the audience resists suspending their disbelief and has no other ability to explain what has just been seen.” The last three years for the theatre industry have been challenging for commercial theatre. Eric refers to himself as ‘the angry outsider.’ He despairs and feels terrible for those theatre companies that find it challenging. Woolfe doesn’t find many things terrible right now in the larger sense regarding the industry for Eldritch. Everything has been pretty good. Eldritch shows are selling well at Red Sandcastle. The audience demographics for Eldritch are not all dying or people in their 80s. Eldritch audiences are leaving their houses and coming to see shows. People come because they feel the Sandcastle Auditorium is not a COVID trap. His upcoming show at Eldritch is ‘Macbeth: A Tale Told by An Idiot.’ Directed by Dylan Trowbridge and coinciding with the 400th anniversary of the play’s premiere, show dates run from February 8 – 24 inclusive; Eric told me that Dylan has been pushing for a few years now that Eldritch should present a Shakespearean play. Woolfe calls this ‘Macbeth’ a one-person, surreal, classic comic telling of the Bard’s classic with puppets and magic. He’s terrified about the upcoming production because it’s a lot. He plays every single character. Here’s what he had to say about the state of the theatre: “The real truth is I don’t like a lot of theatre. I find theatre artists are often really conservative in their imagination. I think in Canada, there are way too many plays set in kitchens and way too many stories about a broken family getting together at their father’s funeral. We’re reluctant as theatre artists to engage the imagination of our audiences…People interested in conservative theatre from years ago are not coming out anymore.” Woolfe even believes that when tackling the classics, often, when theatre companies present Shakespeare, what they’re really presenting is a kind of museum piece where it isn’t even really the play they’re doing. It’s a comment on other performances of another production of another play. For example, Eric said there have been pieces from ‘Hamlet’ handed down from generation to generation. Assumptions have been based on the text that are not based on the text. Instead, these scenes are based on performances of actors making choices that are copied and copied and copied. Younger, diverse audiences have not been reached yet, according to Eric. Why? The style of plays still echoes this old model of theatre viable in the 1960s and 1970s. Yes, ‘Macbeth’ is slated to begin performances shortly, but it’s a weird Macbeth. Eldritch’s idea is to blow up that preconceived notion of the old model of Shakespeare’s classic tragedy. I’m most certain that, under Director Trowbridge’s artistic vision, ‘Macbeth’ will be ‘aggressively unconventional yet still rooted in the actual words.” The Scottish play was one of my favourites to teach because there are witches, ghosts, and magic. It’s also Woolfe’s favourite; however, he has never really liked any production he has seen. Instead, he likes versions of Shakespeare that upset people because the plays don’t obey the rules, don’t bluster, or don’t attempt to entertain. He then made a most appropriate analogy: “As people make theatre, we try to worry that it’s good for you. We’re trying to make healthy plays, and sometimes in theatre, we’re like restaurants: “We have the best broccoli. Come and get the broccoli. Eat our broccoli; it’s good for you, and all we’re selling anybody is broccoli.” Broccoli is great, but it’s only one thing on the plate. There are all these other tastes and things you can serve. If the food happens to be good for you, that’s fantastic, but you don’t have to tell people. It shouldn’t be the selling point. The selling point is that this meal is wonderful and has broccoli that will taste good. Eldritch’s ‘Macbeth’ will be approached like this. It’s a horror play about fear with puppets and cartoon noises, and it’s everything that should be in a Macbeth without the bluster and stuffiness and attempting to do it properly. There are four sold-out school matinees. A steadily growing demand for tickets extends the production to February 24. Does he listen to feedback from audience members, reviewers, critics, and bloggers? Woolfe prefaced his answer by saying he was always the kid in school who never liked to do the assignment the way the teacher asked. For example, if he wrote an essay, he would try to do something slightly different than the assignment. He spent a lot of time on it and did more work. Why did he do this? He thought the assignment may have been stupid or lacking any reason why it had to be done. So, when the graded assignment was returned, Eric was always that kid who was a tad annoyed when the teachers said he didn’t follow the conventions for the work. Eric reads the reviews. He listens to honest feedback. If every feedback or review is five stars, no one will pay much attention to what is said in the article. Woolfe remembers every bad review as opposed to the good ones, but the thing to answer regarding feedback, whether it be from audience members, reviewers, critics, or bloggers: “We are entering a world where people expect to be able to get entertainment that appeals to their specific tailored individual tastes...Theatre has to reflect this. Over the years at Eldritch, we are building our little niche market and our growing fanbase of weird nerds who don’t go to all theatre but like the horror stuff of comic books, Dungeons and Dragons, sci-fi movies and strange things with puppets and Tarot cards…This is our audience base. Everybody is welcome here at Eldritch Theatre, but it is a specific tent.” What’s next for Eric once ‘Macbeth: A Tale Told by An Idiot’ concludes its run? A series of play readings of some older plays from early on in Eldritch’s existence is happening through February and March. The season's final show is ‘The House at Poe Corner,’ from April 11-21, 2024, written by Woolfe and Michael O’Brien. To learn more about Eldritch Theatre, visit eldritchtheatre.ca. You can also find the company on Facebook. Tickets for ‘Macbeth: A Tale Told by An Idiot’: https://www.ticketscene.ca/events/45534/ Previous Next

Back Bahareh Yaraghi Self Isolated Artist Anita Alberto Joe Szekeres The first time I had seen Bahareh Yaraghi’s work onstage was during Stratford Festival’s 2018 production of Oscar Wilde’s ‘An Ideal Husband’. Her confident performance as conniving Laura Cheveley certainly made me pay attention to this character and to the story itself since Wilde’s tale of the context of cheating in Victorian England took on a different meaning in our #metoo world today. I then saw Ms. Yaraghi as daughter Emmy in ‘A Doll’s House Part 2’ when central character, Nora, knocks on that same door she slammed years ago. For me, it was interesting to watch from an acting perspective just how Ms. Yaraghi approached the daughter-mother relationship in ‘A Doll’s House Part 2’. Well, the mother-daughter relationship was taken to an entirely complex level of intrigue in female empowerment when I saw Bahareh’s divine performance (as I called it in my review) in ‘Oil’ at ARC just this past February. The audience viscerally witnesses a mother’s tumultuous relationship with her child (as a baby waiting to be born, a young person and adult) at three extremely different time frames. For me, Ms. Yaraghi has always captured a natural and convincing vocal delivery which makes me want to listen to the story she is telling and the journey she is about to take me on with her. I am most certainly looking forward to her next performance once the pandemic is lifted. She received her BA from McGill University and then trained at Humber Theatre School. A six time Dora award nominee, Ms. Yaraghi has performed on numerous stages in Toronto and across the country. She has been an ARC company member since 2012 and has appeared in past ARC productions since then including ‘Bea’ ‘Moment’ and ‘Pomona’. We conducted our interview via email: 1. How have you been keeping during this crisis? How has your immediate family been keeping during this crisis? I’m grateful to say that all my family and loved ones are all safe and healthy around the globe. We are so privileged in so many ways to be living in Canada, so my husband and I try to keep our focus on the positives, as opposed to all the uncertainties and sadness out there in the world. I’ve learned that if I literally take it one day at a time, my spirit feels much happier that way. 2. As a performing artist, what has/have been the most challenging and difficult element (s) for you? I MISS PEOPLE!!!! I miss interacting, hugging, talking, and collaborating with PEOPLE! Ok, I got that out of my system. As an artist, one of my biggest joys is to be in a room filled with fellow artists, creating work together and ultimately sharing that work with our community. Not being able to do that right now – or for the unforeseeable future – is of course extremely challenging and scary. But all artists around the globe are in the exact same position – so, staying patient and shifting my focus to my TODAY is what is most important right now. The rest will fall back into place when the time is right. 3. Were you in rehearsals, pre-production or performances of any production was the pandemic was declared and a quarantine was imposed? What has or will become of any of those productions in which you involved directly or indirectly? Yes, I was in the middle of ARC’s production of OIL. We had begun the 2nd week of our run, when we quickly realized we had to make the tough, but necessary, decision to cancel our 3rd week of performances. It was such a beast of a show and I was so proud to be telling it with such a wonderful group of humans. It was heartbreaking to have to close it early, but we considered ourselves very lucky to have had 2 weeks with it and to be able to share it. I was also supposed to start rehearsals for Soulpepper/Necessary Angel’s WINTER SOLSTICE that following week which, of course, was sadly cancelled as well. Fingers crossed you will see both productions programmed in the future. 4. What have you been doing during this time to keep yourself busy? I’ve kept myself quite active, socially. Zoom, phone, and FaceTime conversations with friends and family that I always feel I don’t have enough time for. Now I do and that’s a great feeling. I’m finding that physical exercise and meditation are vital to me right now, and they help me feel strong, calm and light. Otherwise, lots of cooking!! Which I absolutely love (I read cookbooks like they’re novels), lots of catching up on movies/tv shows with my husband, and lastly, I’ve been keeping busy working on the future of ARC with my fellow collaborators. There’s lots of exciting ARC news in the works, so stay tuned! 5. Do you have any words of wisdom or sage advice to other performing artists/actors who have been hit hard by this pandemic? Any words of advice to new actors out of theatre schools? The other day a good friend of mine said, “I don’t think I’ve got this covid thing figured out yet.” I understood exactly what he meant: he doesn’t know how he’s ‘supposed’ to feel, how he’s ‘supposed’ to use all this new-found free time, how he’s ‘supposed’ to feel creative when he’s not necessarily inspired, how his perspective ‘should’ be changing because of all this world change. However, I don’t think most of us do. My only advice to anyone would be to keep yourself strong and healthy – physically and mentally – as best you can. Stay hyper-sensitive to the things that truly bring you joy and peace, that truly enrich your spirit, and perhaps start contemplating on the things you will choose to reintroduce back into my life, or the things you’re ready to part ways with, when life and society picks back up. I think this “covid thing” can be a great opportunity for change. But it will require great thought, great strength, great belief and bravery. OR… Netflix and a bag of chips to ease the soul is also time well spent in my books! 6. Do you see anything positive stemming from COVID 19? The earth and the animals are much happier. The air quality is much more refreshing. And the rat race has been calmed. There’s so much relief in all of that. On a simple level, what I love is that we’re being reminded over and over again that we are all connected, that we need one another, and that we need to take care of each other otherwise we all fall. 7. In your opinion, will COVID 19 have some impact on the Canadian performing arts scene? I have no idea what the future of theatre looks like. Or sport events. Or concerts. Or any event where the energy from a live audience changes everyone’s experience. All I know is that we need immense patience. And the need, desire and hunger to tell and hear stories will come back strong and it will be powerful. I look forward to the re-emergence. 8. Some performing artists have turned to online streaming or You Tube presentations to showcase and/or share their work. In your opinion, is there any value to this presentation format? Will online streaming or You Tube presentations become part of the ‘new normal’ for performing artists? I haven’t watched any of them. I haven’t had the desire yet. I admire the artists testing the waters and finding new ways of sharing their work. Some artists may need to keep creating; and some artists might need stillness and time to process. Everyone has their own pace and might need different creative outlets (or none at all) during these extraordinary times. There is no right answer. But the search is necessary, and I appreciate that very much. 9. What is it about the performing arts community that you still love even though it has been tremendously affected by this pandemic? Oh, it’s one of the best communities in the world! I feel so lucky that I’ve devoted my life to it, even with all its challenges. My husband is not in the performing arts community and he always says, “theatre artists are some of the most intelligent, humble, hilarious, compassionate, well-spoken, and worldly people I’ve ever met.” And it’s true. The theatre community is rich in heart. And if your heart is full, it gives you a different kind of energy. And that energy remains strong, even through a pandemic. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests usually at the conclusion of the presentation: 1. What is your favourite word? Love 2. What is your least favourite word? (It’s two) Shut up 3. What turns you on? Wisdom 4. What turns you off? Excuses 5. What sound or noise do you love? Laughter 6. What sound or noise bothers you? Someone in pain that I cannot help 7. What is your favourite curse word? F**K 8. Other than your own at this moment, what other profession would you have liked to do? I wish my parents had put me in dance when I was a child. I think I’d be good at it. 9. What profession could you not see yourself doing? A surgeon 10. If Heaven exists, what do you think God will say to you as you approach the Pearly Gates? “Let’s dance, B”. Previous Next

Back Marcus Nance Theatre Conversation in a Covid World Jerald Bezener Joe Szekeres Marcus Nance’s name is one I’ve heard in the Canadian professional theatre circuit for some time, but I never had the opportunity to see him perform. When he agreed to be interviewed and sent me his bio, I most certainly want to see this gentleman perform in future as his credentials and credits reveal extraordinarily fine work. American-Canadian bass-baritone Marcus Nance is equally at home in opera, musical theatre, concert, and cabaret. The New York Times described him as “a thrillingly powerful bass-baritone” while the Globe and Mail says he “has a rich voice and strong stage presence”. Marcus Nance garnered international attention as Malcolm in the world premiere of Atom Egoyan’s opera ‘Elsewhereless’ with Tapestry New Opera Works which earned him a Dora Mavor Moore Award nomination for Most Outstanding Male Performer. For Queen of Puddings Music Theatre, he created the role of Moses in the world premiere of the epic opera ‘Beatrice Chancy’, performing alongside opera superstar Measha Bruggergosman. His other opera credits include Porgy in excerpts from ‘Porgy and Bess’ with the Nathanial Dett Choral and the Toronto Symphony, Sparafucile in ‘Rigoletto’ with the Tacoma Opera, Compere in ‘Four Saints in Three Acts’ with Chicago Opera Theatre and an array of exciting roles and concerts with Santa Fe Opera, Glimmerglass Opera, Pacific Opera Victoria, Chautauqua Opera, Vancouver New Music, The National Arts Centre, Shreveport Opera, Ash-Lawn-Highland Summer Festival, Natchez Opera Festival, Orchestra London, Victoria Symphony, North York Symphony, Chautauqua Symphony, Fairbanks Festival Orchestra, Windsor Symphony, the Monterey Bay Symphony, the National Arts Centre Orchestra, Hawaii Opera Theatre, London Symphony, and the Monterey Bay Opera. New York audiences saw Marcus Nance on Broadway as Caiaphas in ‘Jesus Christ Superstar’, in Baz Luhrman’s Tony Award winning production of ‘La Boheme’, in New York City Centre ENCORES! productions of ‘Kismet’ and ‘Of Thee I Sing’, as Alidoro in ‘Cenerentola’ with New York City Opera Education and in concert at the Metropolitan Room. Recent projects include Rev. Alltalk in Volcano Theatre’s workshop of the reimagined production of Scott Joplin’s ‘Treemonisha’, Van Helsing in Innerchamber’s concert version of ‘Dracula’, and as Judge Turpin in the Shaw Festival’s production of ‘Sweeney Todd’ where the Toronto Star proclaimed that he “gives the production’s standout performance as the corrupt Judge Turpin: with his stunning singing voice and commanding physical presence, he is horribly convincing as a man who aborts justice and tramples morality…”. He has spent nine seasons at the prestigious Stratford Festival where his assignments have included the monster in ‘Frankenstein Revived’, Bill Bobstay in ‘H.M.S. Pinafore’, Caiaphas in ‘Jesus Christ Superstar’, Queequeg in Morris Panych’s ‘Moby Dick’ and Rev. J.D. Montgomery in Gershwin’s ‘My One and Only’. He has also made seen as the Mikado in ‘The Mikado’ for Drayton Entertainment, and Clairborne in Charlottetown Festival’s world premiere of ‘Evangeline’. Expanding further his creativity and artistic horizons, Marcus Nance has has made his film debut as the Singing Accountant in Mel Brooke’s feature film ‘The Producers ’ starring Nathan Lane and Matthew Broderick and his television debut as Rev. Moses in the opera ‘Beatrice Chancey’. He has also appeared in concert at the Cornwall Concert Series, Primavera Concerts, Elora Festival, Toronto’s Jazz Bistro, the Metropolitan Room in New York City, Stratford Summer Music, the Elora Festival, the Toronto Jazz Festival and as a regular guest with the Ottawa Jazz Orchestra. We conducted our conversation via email, but I had the opportunity to speak with Marcus briefly via Zoom: In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? By nature, I am a positive and happy person. So, a year ago when rehearsals at the Stratford Festival abruptly stopped, my goal was to make good use of my time and to not sit around and wallow in self-pity. It was easy at the beginning because I never dreamed that a year later, I would still be waiting to get back into the theatre. So, between that day and now I have had my ups and downs. Days of panic and days of joyful discoveries about life and purpose. The biggest disappointment was not being able to play the monster in Morris Panych’s production of ‘Frankenstein’ in the new Tom Patterson Theatre at the Stratford Festival. I was so excited to be asked to play this character. It was an opportunity of a lifetime for me. But as the death toll from the Coronavirus began to rise, I got over myself and realized that just being alive at this time in history was a greater gift than any role I could ever be offered. I am heartbroken at all the lives we have lost. How have you been spending your time since the theatre industry has been locked up tight as a drum? I have actually stayed busy doing a number of different things. One: My husband (music director Franklin Brasz) and I always work in the summer. So to have a summer off is highly unusual. We decided to make lemonade out of lemons, and we bought a tiny trailer. We spent the summer and fall camping all over Ontario. I absolutely loved it. I love cooking outside, going on hikes, hanging out on the beach, and drinking gin and tonics all night. I can honestly say that camping saved us and kept us from falling into depression. In the end it has made this a summer to remember. A life highlight. Two: Many years ago, I tried to get involved in the tv/film world, but an experience of blatant homophobia caused me to flee that world with no intention to ever go back. When COVID hit, my agent wrote me and suggested I be submitted for tv/film as that industry was still able to produce safely. I figured I had nothing to lose so I said yes. To my shock this has kept me busy all year. I never thought it was possible, but the opportunities empowered me and helped to erase the negative experiences I had to deal with earlier in my career. It really made me happy to know that the world is changing for gay people. Three: I started teaching voice again. I was asked to give masterclasses in Nevada, California, and Colorado. I also rejoined the faculty of Sheridan College and started giving private voice lessons from my home (via Zoom of course). I love working with young artists. Four: I started modelling again! I contacted a modelling agency I had worked with many years ago and they were thrilled to have me back. I shot two fun campaigns. At 56 years old who would have thought? Five: Lastly, I was given some incredible opportunities to film performances for online streaming. Highlights being a Christmas concert for Stratford Summer Music filmed at the beautiful Knox Church in downtown Stratford, and filming my cabaret “Voice of a Preacher’s Son” on the Stratford Festival stage for their upcoming series “Up Close and Musical” for stratfest@home The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else? COVID, an escape? No! Covid didn’t allow me to escape because it gave me too much free time to think. I was consumed with BLM and the racism that was being exposed all around me. I was consumed with the racist US president and with those that supported him. I was consumed with watching people die while others were protes7ng masks. Had I been performing eight shows a week at the Stratford Festival, I would have had a place to escape from the world. I would have put my energy into performing and laughing in the wings with my friends. So COVID was not an escape for me. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? That sounds about right. My gut is telling me that the world needs another year to get everything in order. The new strains of COVID, the lack of enough vaccine, the COVID deniers… yes, we need another year to fix all this and allow ourselves and our audiences the 7me needed to allow everyone to feel comfortable coming back to the theatre. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? I have more appreciation for what I do. Not that I didn’t appreciate art before but having been in the business for over 30 years, one does start to take it for granted… feeling that it will always be there. I now know that that’s not true. Anything can be lost to us at any 7me. I have spent a lot of hours on YouTube as of late, watching ballet dancers, opera singers, orchestral performers and theatre performers and I can’t help but feel the pain of all these amazing people who suddenly lost their jobs because of COVID. All the work that goes into perfecting their crafts and suddenly they have nowhere to share that talent. I don’t think anyone of these people will take their art for granted ever again. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? COVID is dangerous, so yes, I have felt a sense of danger for me and for others. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? This time of COVID has forced us to sit still and to listen. I am sensitive by nature, but my heart is more open than it ever was to the world and to those in need of being heard or acknowledged. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I will answer this by saying that I have always been curious about what it means to “follow one’s own path” and COVID has forced me to do that. To be creative, to try new things, to work toward the impossible to see if it’s actually possible. In the last year I feel that I have done these things and I have discovered so much about myself. This pandemic is not over and this next year will most definitely test us. Can we continue to strive and grow? Do we have it in us to stay healthy and hopeful for another year? I think so and I hope so. To learn more about Marcus, visit his website: www.marcusnance.com . Previous Next

Back Ted Dykstra and Diana Bentley The Self Isolated Artists Melissa Renwick/Toronto Star File Photo Joe Szekeres When I received an email from Ted Dykstra (Chief Engineer) today, I noticed at the bottom under his name he calls his Coal Mine Theatre, “Off-off Broadview theatre”. Very classy and clever, indeed, as he and his wife, Diana Bentley (Co-Chief Engineer of Coal Mine) have modelled their 80 seat theatre after the intimate, exciting and often daring productions that can be found in New York City’s ‘off-off Broadway scene’. To this day, I have never, ever, been disappointed with any of the intriguing and enthralling productions I have reviewed at Coal Mine. I must attribute its success to Diana and Ted, their dynamite slate of plays, and the outstanding actors/production crew members who continue to grace the stage here on Danforth Avenue. I have had the honour to have seen both Ms. Bentley and Mr. Dykstra perform at some of Canada’s finest theatres, and I must include Coal Mine here as well. Ms. Bentley gave a daring and brave performance as Filigree at Coal Mine in ‘Category E’. I will always remember how moved I was the first time I saw Mr. Dykstra’s co-creation of, what I believe is, one of Canada’s most famous plays, ‘Two Pianos, Four Hands’. I was pleased when they agreed to be interviewed via email: 1. How have you and the kids been doing during this tumultuous time of change and upheaval? Ted: Pretty well. We have an 18-month-old named Henry who thinks he hit the jackpot, as he of course has us to himself 24/7. Diana: I think, like most people, there are good days and then there are harder days. We are enjoying having this time at home together and with Henry, but of course we miss the other parts of our lives that we love like the Coal Mine. 2. What has been the most difficult or challenging for you during this isolation? What have you been doing to keep yourself busy during the time? (I know with children your attention will have to be on them first and foremost) Ted.: My son and daughter Theo and Rosie are with their mom, and we miss them very much. They miss us too, but I think they and Henry miss each other most of all! The other thing would be speculating on the future, which is “a mug’s game” but I sometimes do it anyway. Diana: We split the days so that one of us takes care of Henry while the other works. Right now I’m working on a television show that I’ve been wanting to pitch for a few years, and a one woman show that I have had sitting inside me for a year. Both are exciting and I’m happy for the time to draw my focus to them, but also trying to be gentle with myself. Right now we’re gearing up for a Coal Mine Zoom Board meeting so we’re still working too! 3. I believe ‘Cost of Living’ was in pre-production and intensive rehearsals when the pandemic was declared, and the quarantine imposed. How many weeks were you into rehearsals? Can you possibly see ‘Cost’ perhaps being part of this upcoming 2020-2021 season or a later season? Ted: We were to start rehearsals March 17. Our New York based actor Christine Bruno arrived March 15, a Sunday. We had her set up in an air bnb close to the theatre, had rented her a mobility scooter, (the play involves two characters who are physically disabled) and stocked her place with groceries. Because she needed to isolate for two weeks on arriving from the states, we decided that we would delay the whole show by a week. So she would isolate for a week, then we would begin rehearsals at the theatre, skyping her in for the first week. But two days after she arrived, we knew it was game over due to the acceleration of the virus’ spread. So we sent her back on the Tuesday. It was very sad of course. Diana: We are very committed to making sure ‘Cost of Living’ happens. The big question is when, but that’s the question for everything right now. When we return to making live theatre, when audiences feel safe to come back and then of course what shows we will program. Lots of questions and bridges to cross 4. Any words of wisdom or sage advice to performers/artists/actors who have been hit hard during this time? I’m sure this pandemic has hit hard on the new graduates of theatre schools. Any words of wisdom for them? Ted: Our jobs have never been assured, by anyone. This is a golden opportunity to learn this. I don’t think any of my neighbours in East York have thought once that they miss the theatre at this time. Rightly so. They have far more important things on their minds. So why are you wanting to do it? It’s an important thing to know for yourself. Good time to think about it! And if you have to do something else other than your heart’s desire to live for however long, like the rest of the world does, show yourself and the world you can do it well and without complaining. We are so lucky to be living the lives we are. And you can still write, read, create, dream - all the things you love. Don’t stop. Diana: Have faith. Go inward. Listen. 5. Do you see anything positive stemming from COVID 19? Will COVID 19 have some lasting impact and influence on the Canadian performing arts scene? Ted: Well if I were the environment, I’d be wishing the virus would stay a good long time, so there’s that! A life doing theatre has taught me a lot about humankind. Unfortunately, one of the conclusions I have reached is that no society, country, nation, continent has ever learned the lessons necessary to stave off their end. And this is, I think, a truth about humanity. We survive. We change, but usually only because we have to. As soon as we stop “having to”, we start to forget why we were doing it, and comfort and greed once again come to the foreground. Flip side of that? We keep inventing, writing, discovering, expanding in as many good ways as bad. But there isn’t anything we know now about being human on the inside then the Greeks knew 2500 years ago. Maybe we are waiting for a worldwide “aha!” moment. I sure hope it comes. But any time soon? I don’t think so… And would I love to be wrong? Of course! Theatre will continue, and some great plays will come of this time, as they have of every other time. But that’s nothing different. That’s what theatre does. So it will continue to do that. Diana: Gratitude and not taking anything for granted. 6. Some performing artists have turned to streaming and/or online/You Tube presentations to showcase or perform their work. In your opinion and estimation, is there any value to this during this time? What about in the future when we return to a sense of a new normal. Will streaming and online productions be the media go to? Ted: It’s not my cup of tea. Theatre to me is meant to be experienced in a room full of people. Theatrical performances are meant to take place in front of people. This raises the stakes, makes it so much more exciting. Watching a live play online, where actors are performing for no one, is what I would call television. And real television is an awful lot better. In fact it’s fantastic right now in terms of variety and excellence. No contest. Diana: For some people/ artists I am sure that will be exciting and essential. For Ted and I the Coal Mine is very much about the live experience so I’m not sure we’ll follow suit- but anything is possible! 7. What is it about performing and the arts scene that you still always adore? Ted: Great plays. The community. Great artists. My colleagues, friends. Memories. Moments. The anticipation excitement and hope on the first day of rehearsal. Working with designers, volunteers, stage managers, bartenders who are all infinitely better at their jobs than I could ever be. And the audience. The people who pay good money to see what we do because they love it and want it in their lives. Without them we are nothing. And after 45 years doing this, I can say without reservation that no matter what happens to The Coal Mine, we have been blessed with the finest patrons I have ever had the privilege of working for! Diana: The artists. I miss them so much. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests at the conclusion of his interview: 1. What is your favourite word? Ted: Geselig. It’s a Dutch word that has no direct translation that describes the feeling of comfort, coziness, acceptance, serenity given by say a fireplace in the winter with your favourite drink in hand and a blanket and two or three of your most favourite people in the room who share the feeling and are enjoying it as much as you, with no worries present whatsoever. And it’s snowing outside. The big, slow, thick flakes. Diana: Cantankerous 2. What is your least favourite word? Ted: The N word. Diana: Bitch 3. What turns you on? Ted: My wife. Diana: The Giggles 4. What turns you off? Ted: People who can’t laugh at themselves Diana: Narcissism 5. What sound or noise do you love? Ted: My kids’ laughter. Diana: The sound of our son talking to himself in his crib in the morning. 6. What sound or noise bothers you? Ted: Anything whatsoever no matter how small that I can hear when trying to go to sleep. Diana: Loud crunching. 7. What is your favourite curse word? Ted: It’s a phrase I came up with when I was directing Shakespeare in Calgary. “Fuck my balls.” Diana: F**k 8. What profession, other than your own, would you have like to do? Ted: Astronaut. Diana : Fiction writer. 9. What profession could you not see yourself doing? Ted: Easy. Stage Management. Diana: Dentist 10. If Heaven exists, what would you hope God will say to you as you approach the Pearly Gates? Ted: “You were a good dad, so we’re gonna let the other stuff slide.” Diana: “High Five!” Photo of Ted Dykstra and Diana Bentley by Melissa Renwick/Toronto Star File Photo To learn more about Coal Mine Theatre and its upcoming season, visit www.coalminetheatre.com . Previous Next

Back 'Cock' by Mike Bartlett Produced by Barrie's Talk Is Free Theatre and now onstage at 80 Bradford Street, Barrie. Produced by Barrie's Talk Is Free Theatre and now onstage at 80 Bradford Street, Barrie. Joe Szekeres (Photo Credit: Matthew MacQuarrie-Cottle. L-R: Michael Torontow and Jakob Ehman) “Mike Bartlett’s play is ‘Cock of the Walk’ in Barrie.” I have to hand it again to Barrie’s Talk Is Free Theatre. TIFT pushes boundaries to provoke its audiences' thinking and nudge them out of their comfort zones. Artistic Producer Arkady Spivak pointed out in his pre-show remarks that the play’s title cocked a few heads in Barrie. That’s a good thing when theatre can do that. TIFT’s latest unabashed production of British playwright Mike Bartlett’s darkly comic ‘Cock’ made me do the same thing a few times on this opening night. John (Jakob Ehman) is a gay man who has been in a relationship with his partner, ‘M’ (Michael Torontow), for seven years. They have quarrelled lately, and John has moved out of the apartment. But when he meets and falls in love with a woman, ‘W’ (Tess Benger), John is forced to contemplate the boundaries of his identity and decide what he wants for his future. A dinner party that ‘M’ holds at the apartment to finally see if John is serious about his future intentions becomes the climax for his future choices. ‘M’ has invited his father, ‘F’ (Kevin Bundy), for moral support. The play examines an important question: are fidelity and monogamy still possible in a permissive twenty-first-century context? That’s puzzling when you look at Bartlett’s script. For instance, after being sexually intimate twice with ‘W,’ John is head over heels for her and then runs back to ‘M’ to be forgiven. Is John hinting that he’s no longer gay? Is that why he runs back to ‘M’ to be forgiven? I didn’t think one can be cured of being gay. This comes across as selfishly unfaithful. Three out of the four characters are identified as initials. Many people will have the same initials, so there’s no sense of individuality, whereas a name like John denotes a particular character. Therefore, does using initials instead of names mean people are dispensable and thrown away once we’ve used them? How is it possible to remain monogamous, then, in a world where initials identify many people? It finally dawned on me why Bartlett’s script is not puzzling. It’s not afraid to hit right at the heart of a permissive society and ask point-blank questions. By doing so, it’s riveting, gutsy and sexy theatre. It’s the ‘Cock of the Walk’ in Barrie. First, let’s not get all schoolgirl giggly and intimating the play’s title means only the male appendage. British slang indicates ‘cock’ is a rooster. A cock fight is two roosters battling. Cock can also be used as a derogatory term towards someone else, usually from one male to another male. It also means to tilt one’s head to the side (see example above). Cock also means to get a gun ready for firing. These meanings have been intricately woven into director Dylan Trowbridge’s bold treatment of a play that he believes concerns the human heart. His vision deals with love’s capacity to make us feel euphoric, joy, brutal pain, desperate fear, and overwhelming confusion. Love transcends sexuality and gender. It ignites primal fear both between individuals and within individuals. This theatrical vision has been courageously and confidently stamped on TIFT’s production, which Trowbridge believes will differ in each performance. Production designer Kathleen Black does not set ‘Cock’ in an upper-class-looking setting of familiarity. Instead, it plays in the underground dust, dust bunnies, and cement storage space at 80 Bradford Street. We gather in front of a garage door. An audience member knocks, and John (Jakob Ehman) opens the door. Dressed in a white undershirt, silver pants, and black dress shoes, John stares at each audience member as we enter. There’s a sense of discomfort walking past him. What’s he thinking about each of us? It appears John has ensconced himself as the first cock of the evening. It’s a tightly intimate theatre in the round performance space. The audience is up close to the action. A white drop sheet at the front allows some plot action to occur behind. Periodically, I like to mention when I can sense a production becomes an actor’s play. ‘Cock’ is one of them. What makes it easy and challenging for any theatre company? There are no cumbersome sets, props galore, or flashy costumes. There is the odd miming at the ‘dinner’ table. The challenge would be to ensure ‘Cock’ does not become the typical sitcom fare of a screaming and shouting match in playing for control of the moment. Trowbridge does not allow that to happen. He confidently ensures his actors focus on the words' meanings and connotations, what they add to each moment, and how to deliver them so the context is clear. These four talented artists measure up to this mammoth task of telling a good story using words. Jakob Ehman and Michael Torontow open the show with gritty rawness and candour. There’s a sense of sexual chemistry of ‘hawtness’ (yes, I did teach high school for 30 years) and guts between John and M. They try to one-up each other while vying to become the cock of the moment to control. Torontow’s height, dark, swarthy Freddy Mercury look, complete with black nail polish, tattoos, and muscles, contrast robustly with Ehman’s shorter height, lighter-coloured pants, a white undershirt, and dress shoes. As ‘W,’ Tess Benger becomes an appropriate foil to Torontow’s ‘M.’ Torontow is demanding and overbearing, while Benger is inviting and patient. John and ‘W’s sexual activity is most definitely euphoric in its static staging. It’s not graphic in its depiction on stage, yet it allows Benger and Ehman to use words and guttural sounds to indicate their pleasurable ecstasy. This encounter would set ‘M’ ready to fire a gun out of jealous rage. Kevin Bundy ‘F’ is father to ‘M.’ Although he only appears in the final scene, ‘F’ is not of secondary importance but becomes more of a peripheral understanding of Trowbridge’s vision of the capacity of love transcending. A widower, ‘M’ has experienced confusion and difficulty in accepting his son’s relationship but is appreciative of what John has brought to ‘M’s’ life. However, one of ‘W’s’ conversation starters towards ‘F’ changes the course of events. The ending of ‘Cock’ is visually powerful. The look on Ehman’s face when ‘M’ asks him a question to do something remains haunting. Will he or won’t he? I’m not saying a word. You have to see it for yourself. And Another Thought: In the Programme, Talk is Free states it doesn’t just make theatre in Barrie. It works to redefine it, to redefine our relationship to it, and to redefine how artists thrive as they create it. When you’ve solid Canadian theatre artists at work in Barrie, driving outside Toronto to see terrific work makes it all the more worthwhile. That’s why you should go to Barrie to see ‘Cock.’ Running time: approximately 90 minutes with no interval/intermission. ‘Cock’ runs until April 27 at 80 Bradford Street, Barrie. Enter via Sign #3. For further information, visit tift.ca or call (705) 792-1949. Talk is Free Theatre presents ‘Cock’ by Mike Bartlett Director: Dylan Trowbridge Assistant Director/Sound Designer: Nolan Moberly Production Designer: Kathleen Black Production Supervisor: Crystal Lee Stage Manager: Koh Lauren Quan Performers: Tess Benger, Kevin Bundy, Jakob Ehman, Michael Torontow Previous Next

Back Dennis Garnhum Self Isolated Artist Courtesy of Grand Theatre, London, Ontario Joe Szekeres The four years pursuing my undergraduate Arts Degree at King’s College, University of Western Ontario (now known as Western University) solidly shaped my personal and professional interests in the Arts. One of those areas where I still believe the city holds its appeal is in the performing arts sector. When I attended Western, Purple Patches was one of the central student theatre groups on campus which provided a creative outlet for likeminded individuals. I also remember the extraordinary Grand Theatre where I saw some wonderful productions nearly forty years ago. When I started reviewing for On Stage, I wanted to make sure the Grand was included. I have seen some terrific world class professional theatre there recently, and I am always grateful when the invitation has been extended to me to come to London to review their opening night performance The Current Covid pandemic has thrown the professional performing arts sector into a tailspin that has many, who hold a vested interest in it, still reeling from the devastating impact. It’s going to take an extraordinarily calm and clear-headed individual to sift through with a firm grasp and clear vision to move forward into an unknown and uncertain future. I spoke about this quality trait in an earlier profile regarding the Stratford Festival’s Director, Antoni Cimolino. I also place The Grand Theatre’s Artistic Director, Dennis Garnhum, in this same category with Mr. Cimolino. Mr. Garnhum became Artistic Director of the Grand in the fall of 2016. His credentials have been profoundly notable within the theatre community. Since his arrival and return home to London, Dennis has created several new programs with the Grand. He has also launched a new partnership with Sheridan College’s Canadian Music Theatre Program that now positions The Grand’s High School for its next phase of development. Across Canada, Dennis has directed many plays, musicals, and operas with a number of companies. At the Grand Theatre, he directed Timothy Findley’s ‘The Wars’, ‘Prom Queen’ and ‘Cabaret’. He was set to direct the premiere of ‘Grow’ before it was cancelled on account of the Covid pandemic. Dennis and I held our interview via email: 1. How have you and your family been keeping during this two-month isolation? We have found some creative ways to fill our days: I work for the Grand in the basement, my husband’s office and broadcast studio (he’s a journalist) is the bedroom, and our daughters bedroom doubles as her school room. We started tiny school: 4 kids, 5 parents all on zoom. One class a day taught by a different parent. I teach drama and art! 2. What has been most challenging and difficult for you and your family during this time? What have you all been doing to keep yourselves busy? The most difficult thing is to not be able to reach out and touch and play. Our daughter, Abby, is most affected by it. We always have a minimum hour of outdoor time daily and I have organized and reorganized the house a few times. 3. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene and on the city of London itself? We will refer to the time before and the time after COVID no doubt. Ultimately, I think the ultimate impact will be positive: streamlining, priorities and abundant passion. We will focus on doing less, better, and with more imagination and thrill. The City of London too will learn from these things, and I do believe prosper. People will discover London is a perfect city to live in: it has a lot more space than the larger cities, combined with great things to do: Population will rise. 4. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Grand who have been hit hard as a result of COVID 19? Any words of fatherly advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? First of all, I have great compassion for the loyal Grand team whose jobs and lives were interrupted with very little notice. People who work at the Grand live in London and make their lives mostly around being with us - so that is without doubt the most painful thing of this time - not being able to continue to make theatre. My hope is that we return to work sooner than later, that we will return to a company and a city willing to enjoy live theatre. The last thing we did was to have a staff breakfast on that fateful day (March 13) and one of the first things we will do will be to sit together and share a meal again. I miss these beautiful people. This past year the Grand Theatre’s production of GROW was workshopped at Sheridan College and at Goodspeed Opera House. Both events used incredibly talented graduating students. They are now out in the world - waiting. I can see their bright faces. My advice is just to be clear with one thought: We’ll return. You’ve lived this dream this long - keep it in your heart - don’t focus on the dark thoughts - and think how glorious it will be when you are able to be on our stages. And you will. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? Only positive things. Everything will be reconsidered. The best part, I think, is how we will appreciate what we had to a greater extent. I think it will make for extraordinary conversations. 6. I’ve spoken with some individuals who believe that online streaming and You Tube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I think online streaming was a brilliant first effort and reaction to a need. What do we have? Computers - and go! I think it’s usefulness is nearly done - and won’t play an important part in live theatre in the future. It’s film. I think it will speed up meetings and allow for some very creative shoutouts etc. But, live theatre is live theatre: people sharing stories in a room. 7. What is it about the Grand Theatre that you still adore in your role as Artistic Director? Well, I adore everything about this role. Everything. What I appreciate the most right now, is that it is a complete honour to be working at the Grand Theatre during this point in history - and I know my role is to be part of team who sees it through to bright, bright, better days. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Beautiful. 2. What is your least favourite word? No. 3. What turns you on? People. 4. What turns you off? Long lines. 5. What sound or noise do you love? My family laughing at the same time. 6. What sound or noise bothers you? Car horns. 7. What is your favourite curse word? Dang. 8. Other than your current profession now, what other profession would you have liked to attempt? Architect. 9. What profession could you not see yourself doing? Giving out parking tickets - too stressful. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “I have a Muskoka chair by the lake waiting.” To learn more about the Grand Theatre, visit www.grandtheatre.com . Previous Next

Back A visit to Henry Purcell's 'Dido and Aeneas' and now I'm hooked Thank you to Toronto's Opera Atelier for the invitation Bruce Zinger Joe Szekeres After seeing Henry Purcell’s ‘Dido and Aeneas’ staged by Toronto’s Opera Atelier on October 23, I’m keen to learn more about this gorgeous art form. And while Founding Co-Artistic Directors Marshall Pynkoski and Jeannette Lajeunesse Zingg continue to reach out to new audiences to come to the Opera, I feel strongly convinced the two will succeed in their goal. They have a new audience member in me. I was always hesitant about attending Opera as I didn’t think I would understand what was occurring. With Opera Atelier’s forward thinking, I’m not anymore. What a terrific introduction to Baroque opera for those like myself who want to learn more. So many decisions made with this performance were the right ones. For example, I attended the pre-show introduction which helped to clarify and contextualize what I was about to see. I’m still looking at the beautiful programme each audience member receives as so much useful information was found there that sharpened further what I had learned in the pre-show introduction. Before the performance began, Pynkoski welcomed the audience with tremendous class. Just judging from the exuberant tone of his voice, he was elated to be back in the theatre and extremely appreciative we were in attendance today. Pynkoski then focused his attention on those in the audience who are considered ‘first timers’ to Baroque opera or who might have a basic understanding. He assured us that Purcell’s ‘Dido and Aeneas’ was the correct opera to attend if one wants to learn more. How correct he was on this account. Dido, Queen of Carthage (Meghan Lindsay) is in distress, but we do not know why. It is her sister, Belinda (Mireille Asselin) who guesses her secret. Dido is in love with Aeneas (Colin Ainsworth), the Trojan Prince who has found refuge at her court following the destruction of Troy. When he appears to press whether the Queen will respond to his love, she declares that fate has forbidden their union but she ultimately succumbs to his charms and his love with the courtiers singing, dancing and celebrating with a hunting party. Meanwhile, the Sorceress (Measha Brueggergosman-Lee) plots the Queen’s downfall and the destruction of Carthage whereby Aeneas will have no choice but to leave and forsake his love, Dido. The witches present conjure a storm to separate the loving couple within the hunting party. Ultimately, Aeneas is convinced that he must leave as the gods have commanded him to do so. Dido is outraged and sends him away despite Aeneas’s offer to remain. Once alone, Dido is overwhelmed and takes her life. Aeneas will soon fulfill his destiny and become the founder of Rome – the new Troy. Yes, tragedy ensues within the opera. But with this production, there was so much to see, hear, listen to, absorb, and admire. Pynkoski’s direction remained firmly solid throughout the one-hour performance. He establishes dramatic focus where necessary to tell the story clearly. Kimberly Purtell’s stunning lighting design magically encapsulates this tragic love story. Gerard Gauci’s exquisitely gorgeous set designs are extraordinary to behold as was the wardrobe work of Michael Legouffe, Michael Gianfrancesco and Carrie Cooley Barbour. Jeannette Lajeunesse-Zingg’s graceful, spirited and lithesome choreography transported me to another world. Christopher Bagan was the Assistant Conductor at the matinee performance I attended. Oh, the sensationally stunning vocal work from the artists. Colin Ainsworth was a dashingly debonair Aeneas. Meghan Lindsay’s tragic Dido passionately resonated from the Elgin stage right to my very being. Mireille Asselin’s trustworthy Belinda becomes that hopeful safe space of hope for Dido even though the tragedy is inevitable. Measha Brueggergosman-Lee’s Sorceress was marvelous. She owned that stage. She moved with such flurry and purpose that I had to put my pen down from making notes and just admire a veritable vocal artist who just enjoys sharing her talent with all of us. I look forward to attending Handel’s ‘The Resurrection’ in April 6, 8 and 9, 2023. To learn more about Opera Atelier, visit www.operaatelier.com . Previous Next

Back 'Prairie Nurse' by Marie Beath Badian Capitol Theatre, 20 Queen Street, Port Hope Capitol Theatre, 20 Queen Street, Port Hope Joe Szekeres A summertime crowd-pleaser of a play. ‘Prairie Nurse’ addresses an important social issue through humour while never denigrating it. Based on the true story of Badian’s mother's immigration to Canada in the late 1960s, ‘Prairie Nurse’ centres on two Filipino nurses: Indepencia “Penny” (Kryslyne-Mai Ancheta) and Purificacion “Puring” (Yunike Soedarmasato) who have arrived from Manila to work at a small-town Saskatchewan hospital. Penny and Puring never knew each other until they arrived at the airport. They intend to send money home to their families in the Philippines, hoping to bring family members to Canada. The setting is a small Saskatchewan hospital in a rural area in the late 1960s. The characters at this hospital are quite eccentric. Head Nurse Marie Anne (Deborah Drakeford) is tough, no-nonsense, demanding, and resorts to chain smoking when workplace tension is thick. Candy striper Patsy (Ellie Ellwand) is curious, nosy, and involved in everyone's business. Wilf (Aaron MacPherson), the lab technician, plays goalie on the local hockey team and is friends with Patsy's unseen boyfriend, Hank. A heavily Scottish-accented Dr. Miles (Iain Stewart) enjoys hunting and fishing and would rather be doing that instead of his rounds. Charlie (David Ferry) is a helpful and friendly handyman who is a father figure to the new hospital staff. Jackie Chau’s spacious set design fills the entire Capitol Stage and appears right out of the late 1960s with mismatched furniture. The hospital staff needs a good cleaning and fixing up. Pictures are slightly askew on the walls. There is a door stage right which leads to the outside hallway of the hospital. A swinging door just off-stage left centre serves as another entrance and exit. Stage left is a tightly compact kitchen with a stove and mismatched kitchen set. The walls are painted in the typical institutional white. Chau’s costume designs are a terrific throwback to the past, starting with the nurses’ completely white attire. Wilf’s goalie mask made me laugh out loud at his initial entrance. He looked like something right out of a horror flick. Patsy’s candy striper uniform is a wondrous throwback to when these volunteers could be found in hospitals. (Are there candy stripers in hospitals anymore?) Marie Beath Badian’s script contains elements of broad slapstick comedy with the odd touch of farce and seasoned with possible burgeoning romances. For this reason, ‘Prairie Nurse’ is a good choice for the Capitol’s summer season. When done well, broad comedy and slapstick become an audience pleaser. And we need laughter as an audience pleaser right now because our woke world is fraught with overwhelming societal issues. More about a social issue of the plot shortly. Director Megan Watson duly makes sure the pace of this opening night production never veers out of control. Entrances and exits are nicely timed – in other words, when one exits, another must enter immediately. Notes end up in the wrong hands, fisticuffs, shouting and crawling around on the floor. This hard-working ensemble cast commits themselves to the humour. Deborah Drakeford’s crawling on the floor simply made me laugh, as a Head Nurse would never do such a thing. Iain Stewart’s thickly accented Scottish Dr. Miles is a hoot, especially with the various hunting attire in which he accoutres himself. Aaron MacPherson’s Wilf is a boyishly shy technician who comically gets himself tongue-tied when (spoiler alert) he becomes smitten with one of the girls. David Ferry’s Charlie becomes that wise poppa bear for Penny and Puring. Ferry’s beautiful comic timing in the second-act melee is one of the show’s highlights. Ellie Ellwand is a giddy and ditzy Patsy. Kryslyne-Mai Ancheta and Yunike Soedarmasto are charming as the new arrival nurses. Both actors instinctively make Penny and Puring their unique person. Ancheta’s assured Penny is confident (perhaps a bit full of herself) in why she had signed this contract to work at this hospital. Hopefully, she wants to bring her fiancé to Canada. Soedarmasto’s shyly reticent Puring is sweet. Her reaction to people swearing made me smile because I can recall that same reaction from family members many years ago in the 60s. Now to the critical social issue of ‘Prairie Nurse.’ Playwright Badian topically uses contextual humour from the 1960s to poke fun at the arrival of new individuals to a country. It’s the elephant in the room from a 21st-century understanding and might make some uncomfortable. We would never dare say or remark: a) that members of the BIPOC community look different from white people OR b) that members of the BIPOC community look the same. These two statements contain unkind racist tones today. But much of the humour stems from some hospital workers mistaking who Penny and Purring are just by looking at them. Wilf confuses them, leading to madcap zaniness in the second act. Iain Stewart’s comical staring at Penny and Puring silently before he must do something to tell the difference between them brought laughter from me and those sitting around me in the audience. In her Director's Programme Note, Megan Watson discusses how Badian's playful approach effectively captures the experience of newcomers to Canada. She emphasizes the importance of trusting the audience's ability to recognize the human vulnerabilities revealed through this technique. I do too. Final Comments: This Capitol Theatre summer production marks the tenth anniversary of 'Prairie Nurse.’ It is the first instalment of a fifty-year multi-generational trilogy in rural Saskatchewan. Badian's second work, 'The Waltz,’ was performed at Toronto's Factory Theatre this year, and the third, 'The Cottage Guest,’ is currently in development. The Blyth Festival has commissioned all three plays. I never saw the 2013 premiere and just recently saw ‘The Waltz’ this past winter. Ergo, I’ve seen the plays out of order and perhaps may look at the story differently if seen in the order intended. But a recent profile conversation with the playwright led me to some insight about her life that served as a basis for me. Here’s the link to my conversation with Marie Beath: https://www.ourtheatrevoice.com/items/marie-beath-badian%2C-filipino-canadian-playwright See ‘Prairie Nurse.’ It offers terrific summer entertainment. Running time: approximately two hours and 15 minutes with one intermission. The production runs until July 30 at Port Hope’s Capitol Theatre, Mainstage, 20 Queen Street. For tickets, capitoltheatre.com or call 905-885-1071. PRAIRIE NURSE by Marie Beath Badian Directed by Megan Watson Set and Costume Designer: Jackie Chau Lighting Designer: Jareth Li Composer and Sound Designer: Jeff Newberry Stage Manager: Charlene Saroyan Performers: Kryslyne-Mai Ancheta, Deborah Drakeford, Ellie Ellwand, David Ferry, Aaron MacPherson, Yunike Soedarmasto, Iain Stewart. Previous Next

Back 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death A Co-production with Harold Green Jewish Theatre Company. Now onstage at London's Grand Theatre Credit: Dahlia Katz. Pictured: Mairi Babb and Ron Lea Joe Szekeres ‘A commendable and smart world premiere that tackles life and death issues with grace, wit and dignity.’ Philip Akin shares in his Director’s Programme Note that ‘In Seven Days’ is a play of fine balance between people, between families and the seriousness of life and the laughter of that same life. One of the characters from the play states: “Sometimes things change when they change.” Isn’t that the truth? The valued principle of upholding the preciousness of life has now flipped upside down on its head in playwright Jordi Mand’s story. That sacred gift can now be terminated immediately and efficiently with the consent of any adult individual and supporting medical team. Heavy stuff to consider for a world premiere, whether one approves or disproves of the action. The bottom line is: Does this delicate subject matter make for good theatre? Under Director Philip Akin’s skillful hands, this wonderful ensemble cast tells Mand’s affecting story with grace, wit and dignity. The production never feels rushed in its pacing. Set in present-day London, Ontario, thirty-year-old Rachel (Shaina Silver-Baird), a big-time successful Toronto lawyer, has returned home for Shabbat dinner to see her ill father, Sam (Ron Lea), who lives with his much younger girlfriend and partner Shelley (Mairi Babb). Rachel is very close to her father. Her personal life is in upheaval. She and her DJ boyfriend, Darren (Brendan McMurtry-Howlett), are estranged. He has moved out. Upon her arrival, Rachel brings six bags of poppy seed bagels, which sends Shelley into highly comical paranoia of frenzy because it’s her turn to bring snacks to temple. Very few people at the synagogue don’t care for the poppyseed bagels and prefer sesame seeds. Watching these two ladies bicker over the bagels' differences is a hilarious opening. The story takes a serious turn when Sam enters. His health has deteriorated over the last few years. Sam has been in remission from cancer twice; however, he’s finding it more and more challenging to carry on because he’s in constant pain. He has chosen to die by medically assisted death in seven days. Even his dear friend and Rabbi Eli (Ralph Small) finds it difficult to talk to Sam about his choice. ‘In Seven Days’ confronts the audience with a serious question – do loved ones try to change the minds of those who have chosen to travel this path as Rachel does, or should the wishes of the ailing Sam be honoured? Sean Mulchahy has created an extraordinary set design of the upscale living room in Sam and Shelley’s home, beautifully lit by designer Siobhán Sleath. Mulchahy has also selected appropriate clothing for each character, from Shelley’s designer-looking fashion to Darren’s DJ grunge t-shirt, torn jeans, and sneakers. Lyon Smith’s sound design is perfectly timed for a comical effect with telephones (yes, there is a landline in the kitchen) after Sam announces wanting to end his life. When serious and complicated moments rear their heads (as they often do), it’s vital to maintain as much of a genuinely compassionate perspective as possible. Akin continues to underscore this reminder gently many times throughout the play. At one point, a heated discussion ensues between Rachel and Shelley over her father’s care. One complication arises for Rachel: is Shelley only interested in Sam for what she can gain financially in this common-law relationship? That may sound harsh since personal emotions are running high, but it’s also a fair question for any family member to ask. Mairi Babb handles that moment with class and self-respect as Shelley, and the look on Shaina Silver-Baird’s face as Rachel indicates how genuinely touched she is with the response. Wonderful work. This strong ensemble cast is the reason to see the production. They perform in believable synchronicity, listen to each other genuinely and respond believably. At the end of each scene, Siobhán Sleath places one of the characters in the spotlight, which I found visually appealing. That character has been most affected by events from that scene. Thankfully, Ron Lea does not play Sam as curmudgeonly. Instead, his Sam heartrendingly shows gradual exhaustion in his physical stance on stage, and that’s not easy to do. At the top of the show, he walks with one cane, but as the seven days pass, the character saunters with two canes. Lea’s Sam is gruff and point-blank. He either likes or dislikes a person, as there’s no in-between. Sam likes to call the shot even though he may be wrong periodically. Rachel’s mother died while she and Sam were separated, but they never divorced. For that reason, Sam calls himself a widower. Well, legally speaking, he is. At first, Sam never cared for Rachel’s estranged boyfriend, Darren, because he wasn’t Jewish. That drew a few giggles from people sitting around me, but there’s more behind Sam's feelings about Darren. As Darren, Brendan McMurtry-Howlett is hesitant. He instinctively knows Sam doesn’t care for him because he’s not of the faith. Near the end of the play, that all changes. There is an amusing episode of ‘male bonding’ over a tub of ice cream shared between the two, where each begins to understand and accept the other for who he is. This moment does not become teary-eyed because, realistically, that’s not how men would behave. Instead, Lea and McMurtry-Howlett emanate tremendous respect for each other through their facial expressions. Once again, wonderful work to watch. The religious faith perspective behind this touchy issue is bravely handled in Ralph Small’s Rabbi Eli, one of Sam’s oldest friends since childhood. As a religious leader in the faith, Small’s Eli is kind and sympathetic and genuinely wants what’s best for his friend. However, there is also the humane side. Eli and Sam are old friends. Eli tries hard to listen and accept his friend’s request, but it’s tough. Again, a top-notch stage moment of respectful male conversation between Small and Lea is strongly shown. The two keep their emotions in check as men do. However, I noticed Small possibly wiping a tear from his eye. Smartly handled if so because the reference is felt without emotional overkill. There’s strength and resilience behind the two important women in Sam’s life. Shaina Silver-Baird’s Rachel loves her father dearly and only wants the best for him. She’s a fighter and wants Sam to ‘Rage, rage against the dying of the light’ as poet Dylan Thomas once wrote. Mairi Babb’s Shelley is every bit of a fighter who indeed reveals her strength, resilience and love for Sam. Babb’s Shelley is not a pushover, nevertheless. As mentioned earlier, that moment between the two women over the insinuation of a gold-digger becomes pure stage magic. And Another Thought: I always believed the Hippocratic Oath by medical professionals is to prevent disease whenever possible with obligations to all human beings, those of sound mind and body, and the infirm. ‘In Seven Days’ alters this thinking. The subject material of medically assisted death charters into a world of more unknowns post-pandemic. This is good theatre. If you get a chance to attend a talkback following the performance, I hope you walk away further enlightened about an issue in our country that will continue to pose challenges no matter what we may think. Running time: approximately one hour and 45 minutes with no interval. ‘In Seven Days’ runs until March 2 on the Spriet Stage at The Grand Theatre, 471 Richmond Street, London. For tickets, grandtheatre.com or call the Box Office at (519) 672-8800. IN SEVEN DAYS by Jordi Mand. The World Premiere A Co-Production with Harold Green Jewish Theatre Company Directed by Philip Akin Set & Costume Design: Sean Mulchahy Lighting Design: Siobhán Sleath Sound Design: Lyon Smith Religious Consultant: Rabbi Debra Dressler Stage Manager: Suzanne McArthur Performers: Mairi Babb, Ron Lea, Brendan McMurtry-Howlett, Shaina Silver-Baird, Ralph Small Previous Next

Back shaniqua in abstraction Presented by Crow's Theatre in association with paul watson productions & Obsidian Theatre. Now onstage in the Studio Theatre at Crow's. Roya DelSol Joe Szekeres ‘A compelling, complex, and carefully nuanced experience. bahia watson becomes one of our country’s finest storytellers.” I have always been fascinated by the titles of plays and novels. When I’m in a bookstore (how many of those are left?), I always pick up the text if the title fascinates me. The title of bahia watson’s solo performance, ‘shaniqua in abstraction, ' immediately stands out. Its unique use of lowercase letters and the word 'abstraction' sparked my curiosity. Press material describes the one-woman show as ‘defiantly pushing back the boundaries defining Black womanhood.' I’ve always been intrigued by watson’s use of lowercase letters in her name. Is this her signature trademark? If so, it makes me pay attention whenever I see her name listed in show credits. She’s a charismatic force on stage, as evidenced by her role as Sonya in ‘Uncle Vanya’, which she played last year at Crow’s and this year at Mirvish. I’ve seen watson’s work on stage, and she becomes a tremendous force in bringing characters to life, which is remarkable to watch as an audience member. watson is shaniqua, an actor who has come for a casting call and (according to the press release) slips into a musing multiverse of narrative stories. The intermission-less, one-woman 90-minute sharing of perspectives ultimately leads the audience to a kaleidoscopic explosion that spins into a big black hole called shaniqua. Sabryn Rock directs the production with controlled precision. She allows watson to leave her indelible impression as shaniqua. The result of all this? watson delivers a compelling, complex, and carefully nuanced performance of many varied characters. One is an enjoyable highlight which sets the titular character as a comic television show host of SISTAHOOD. The word ‘abstraction’ caught my eye when I knew I would be at the theatre. I rarely see that word today, so I researched online like a good student to ensure I knew what it meant. Collins defines it: “Abstraction: the act of taking away or separating; withdrawal.” A lot is going on here that challenges me, and that’s what good theatre is supposed to do. It challenges audiences to think. And ‘shaniqua’ does just that. For one, as a male, I greatly appreciate women's uniqueness. But can only women honestly know what makes them unique compared to men? I haven’t made up my mind about this question yet. As a white male, do I or can I truly understand the boundaries of defining Black womanhood to which watson defiantly pushes back? I haven’t experienced that in my life at all. There are moments in Bahia’s characterizations where I can sense this understanding of Black womanhood could explode – loudly. Thirdly, watson (the artist) is in the process of removing and separating herself from the white gaze of producers who are considering her for roles on the stage or in film. The varied characters she creates on stage become the performance's integral focus. Echo Zhou (Set), Kimberly Purtell (Lighting), Thomas Ryder Payne (Sound), and Laura Warren (Video) seamlessly combine a visual look and sound that strongly accentuates watson’s varied characters. Costume Consultant Des’ree Gray has selected an orange jumpsuit and pink blazer for bahia to keep the audience’s focus on her physicality. At the same time, she strides and glides around the stage courtesy of Jaz Fairy J’s sharp choreographed movement. And Another Thought: ‘shaniqua’ becomes a vital character study of an assertive woman who begins to understand her place. shaniqua is not just one woman. She is connected to assertive women who want to mark their place in the world even though the voice in the theatre tells her to stick to the script presented to her. The production becomes coarse, gritty, and rough at times; however, when such personal feelings are explored with genuine truth and in the capable hands of bahia watson, then the live experience becomes worth it. Running time: approximately 90 minutes with no interval/intermission. ‘shaniqua in abstraction’ runs until April 28 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box Office at (647) 341-7390 or visit crowstheatre.com for tickets. CROW’S THEATRE, in association with paul watson productions & Obsidian Theatre, present shaniqua in abstraction, written and performed by bahia watson Directed by Sabryn Rock Set Designer: Echo Zhou Lighting Designer: Kimberly Purtell Video Designer: Laura Warren Choreographer: Jaz Fairy J Stage Manager: Loralie Pollard Previous Next BACK TO TOP

Back 'Red Velvet' by Lolita Crow's Theatre John Lauener Geoffrey Coulter, Guest Reviewer (actor, director, arts educator) Get to Toronto’s Crow’s Theatre for an incredible and enlightening performance about a ground-breaking actor no one has heard of! I’ve been an actor, director, educator, and avid student of theatre history most of my life. I thought I knew about or had heard of most of the heavyweights of 19th-century British and American theatre - Edwin Booth (brother of the man who assassinated Abraham Lincoln) Herbert Tree, Edmund Kean, Ellen Terry, Lionel Barrymore, and others. But before last night’s performance of Red Velvet, I had never heard of Ira Aldridge, his life and controversy. The man, who broke barriers in the 19th century and paved the way for fellow African American performers, is brilliantly revived in playwright Lolita Chakrabarti’s timely and thought-provoking 2012 play, ‘Red Velvet’, now playing at the Crow’s Theatre until December 18. New York-born Aldridge was the first black actor to play many of Shakespeare’s leading roles, most notably Othello (typically played by white actors in blackface well into the 20th century) in 1833 at London’s Theatre Royal, Covent Garden. Racist campaigns ensued, due in part to the hostile feelings of the imminent abolition of slavery in the colonies. Although most audiences reacted favourably to Aldridge, most critics were vitriolic in their reviews, wanting to “annihilate” and “drive him from the stage” and decrying his performance as “sacrilege”. Despite these racist diatribes, by the 1840s Aldridge had performed for royalty across Europe, made audiences laugh and weep and was widely regarded as one of the great actors of his age. His career was exceptional, and not just for being a black actor at that time. He travelled farther, was seen by audiences in more countries and won more medals, decorations, and awards than any other actor of his century! How is it that this 19th-century great was all but erased from history? This stellar production sheds some (gas)light. In her notes, Director Cherissa Richards reveals the play explores “great love, deep bonds of friendship, and a hunger to achieve greatness”. She has certainly achieved the latter. Performed by a cast of 8 luminaries (many playing multiple roles) from the likes of the Shaw and Stratford festivals, with spot-on period costumes and props, the play opens in a theatre dressing room in the town of Łódź, Poland in the year 1867. A young female journalist, Halina, has tricked a stagehand into letting her into the room so she can meet the famous actor Aldridge, who has come to perform Lear, in hopes of securing an interview. While Ira at first tries to eject her from his dressing room, he agrees to grant her an interview. Halina mentions Ira’s performance as Othello at Covent Garden, over thirty years earlier. She refuses to drop the subject, and Ira throws her out. From there we are transported to the stage of Theatre Royal, 1833 and Aldridge’s arrival to join the company of ‘Othello’, amidst loud anti-slavery protests outside the theatre and dissension inside amongst the company. Richards adeptly handles abolitionist unrest of pre-Victorian England. Her staging is impeccable (not a bad sightline that I could see) and makes full use of the entire stage with natural blocking and wonderful attention to detail. Lead actors aren’t always the centre of my attention. I like to look at what the supporting characters are up to. Richards created captivating moments from supporting actors who were not the focus of the scene but nonetheless were still in the moment, speaking volumes with their silent facial and physical reactions. Kudos also to the brilliant scene changes, performed exclusively by the company as they whisked furniture and props on and off while interacting with each other and continuing the narrative as they set up for the next scene. Pure genius! On an equal level of genius were the set and props, provided by Julie Fox. The scenes play out mostly on a Victorian-era proscenium stage complete with wood slat floors and brick walls, fly ropes, barrels, boxes, and other backstage paraphernalia adorning the upstage wall. A luxurious red velvet curtain adorning the outermost proscenium harkened images of the Ford’s Theatre where Abraham Lincoln was assassinated in April 1865. Lanterns, chairs, desks, and even the tea service disclosed dedication to authenticity. Costumes by Ming Wong were resplendent and appropriately lavish. Scarlett O-Hara-style dresses on the ladies and vests and tailcoats on the gentlemen were spot-on period-specific. Fervent attention was obvious to the fabric and weight of each costume, especially Aldridge’s Othello and Lear robes. Gorgeous! The muted but stunning lighting design by Arun Srinivasan transported us back and forth through time and space. Until the 1880s theatres were illuminated by oil and gas-lit lanterns and candles. Lighting a play that takes place before the dawn of electric lights using modern instruments is no mean feat. Srinivasan’s recreation of soft, amber tones in the backstage scenes and flickering, shadowy candlelight from the footlights during the Othello scene authentically mimicked the era adding an additional layer of realism and emotion to the scene. Thomas Ryder Payne’s superb and supportive sound design, from the subtle rain effects before the curtain to the musical interludes during scene changes met the challenge of keeping pace with the narrative while elevating the play’s unsettling conclusion. The cast is equally up to the challenge. As Aldridge, Allan Louis certainly has the booming voice, grace, and stage presence worthy of the esteemed actor whom he is portraying. His restrained resentment and vulnerability of an artist long-tortured by prejudice were wonderfully conveyed. His energy and pace were at a continually high level, often with fever-pitch line delivery. Perhaps an added pause here and there could bring more levels to the depth and complexity of his performance. The supporting cast is all likewise up to the task. As Pierre Laporte, manager of the Theatre Royal, Kyle Blair, although often soft-spoken and difficult to hear, beautifully imbues tension in a conflicted ally ship with Aldridge. Ellen Denny, playing Ellen Tree, the ingenue and Desdemona to Aldridge’s Othello, is wonderfully spunky and humorous with just the right amount of unctuous curiosity. Amelia Sargisson, in triumvirate portrayals as Halina/Betty/Margaret, was at once giddy, pensive, and curious, while toggling between multiple languages and accents. Wonderful work, especially as the giddy, self-absorbed Betty. Although more volume and distinctive changes in costume/wigs in her transformation to Margaret would have made her singular portrayals more obvious. Jeff Lillico is perfectly bombastic and repugnant as Charles, the entitled son of Edmund Kean with his puffed-up self-expression, racist diatribes, and all-out temper tantrum. So likably unlikeable! Patrick McManus in dual roles of Aldridge’s valet and dresser Terrence and conservative thespian Bernard, embodies equal parts devotion, stoicism, humour, and volatility. Nathan Howe, also in dual roles as German stagehand Casimir and conservative English actor Henry Forrester, is hilarious. His physical and comedic timing, especially as the foppish Henry, is a standout. His moments shunning Ellen’s romantic advances are priceless. As the ever-present, silent maid Connie, Starr Domingue, brings an understated, indignant portrayal (with a curiously Jamaican patois in her Trinidadian accent!) all the while making the most of her brief scene with Aldridge. Additional shout-outs to the stage management team of Jennifer Parr and Farnoosh Talebpour, who worked so hard having props ready to move on and offstage and making magic with some uber-fast costume changes. Don’t miss this play! ‘Red Velvet’ needs to be seen! The legacy of this ground-breaking and important American needs to be told! It’s never been timelier in today’s world of equity, diversity, and inclusivity! Aldridge’s tale is a love letter to theatre, a captivating tale of racism, stereotyping, tension, tenacity, and achievement. A cautionary tale of how much and how little has changed in almost two hundred years. Running time: approximately two hours and twenty minutes with one intermission. ‘Red Velvet’ runs until December 18 at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, visit crowstheatre.com or call 647-341-7390 ex. 1010 RED VELVET by Lolita Chakrabarti Cherissa Richards - Director Julie Fox - Set and Props Designer Ming Wong - Costume Designer Arun Srinivasan - Lighting Designer Thomas Ryder Payne - Sound Designer Rais Clarke-Mendes - Assistant Director Siobhan Richardson - Fight Director Lisa Nighswander - Head of Props Chris Faris - Head of Wardrobe Jennifer Parr - Stage Manager Farnoosh Talebpour - Assistant Stage Manager The Cast: Kyle Blair - Pierre Laporte Ellen Denny - Ellen Tree Starr Domingue - Connie Nathan Howe - Casimir / Henry Forrester Patrick McManus - Terrence / Bernard Warde Jeff Lillico - Charles Kean Allan Louis - Ira Aldridge Amelia Sargisson - Halina Wozniak / Betty Lovell / Margaret Aldridge Previous Next

Back Cottagers and Indians by Drew Hayden Taylor Staged by Port Perry Ontario's Theatre on the Ridge Joe Szekeres Joe Szekeres There are moments when I’ve stopped making notes during a performance, put the pen away, and simply revelled in watching and listening to fantastic story telling take place before me. Port Perry’s Theatre on the Ridge’s production of Drew Hayden Taylor’s ‘Cottagers and Indians’ is another of these plays where it occurred once again. I did not want to miss anything, not even for a second, if I averted my eyes from the stage to write something down. This ‘Cottagers and Indians’ is wonderful story telling at its finest deftly handled by two actors of solid accomplishment. Carey Nicholson acutely directs the playwright’s 2019 script with perceptive care as Hayden Taylor incorporates humour and wit periodically to get the audience to face head on the, at times, extremely sensitive elements of environmentalism versus consumerism and Indigenous versus non-Indigenous issues. ‘Cottagers and Indians’ introduces Indigenous man, Arthur Copper (James Dallas Smith) who decides to repopulate the nearby Kawartha Lakes Region with wild rice, known among the Anishinaabe as manoomin. Non-Indigenous cottager Maureen Poole (Amanda Jane Smith) disapproves sharply of Arthur’s decision. She feels the planting of the wild rice interferes with boating, fishing, swimming, and is generally an eyesore that brings down the property values of her cottage and those of her neighbours. Ms. Nicholson designed and used the outdoor playing space to full and maximum effect. It’s a multi level set on embedded rock which actually makes it appear as if I was transported right to a cottage lakeside setting. There is a red canoe down stage right. Up left is a circular barbecue with a side table containing a bottle of wine, a wine glass and barbecue tongs. Just slightly off-centre left is a colourful Muskoka chair with what appeared to me to be a white coat draped over the back which I’m assuming is the cottage of Maureen Poole. Liquid blue drapery along the front of the playing space represents the lake water. Both Ms. Smith and Mr. Smith (no relation to each other) create distinctly unique personas initially just through their physical appearance even before the story begins. He sports what looks to be a Tilley hat, aviator sunglasses, khaki cargo shorts, bright red sneakers, a blue t shirt and a khaki looking vest. She wears white capri pants and a striped white and red summery looking blouse/shirt with comfortable looking blue and white fuzzy house slippers. They both bring to life intriguing people whom I wanted to get to know even more. Mr. Smith’s Arthur Copper is self-assured, confident and, at times, rather smug but with good reason upon delving further into the plot. Ms. Smith’s Maureen Poole is racist, pompous as well as self-righteous. Both actors maintain a consistent, natural pacing in their dialogue exchange. When tempers flare, attitudes are heated, and tension is palpably hot, that’s when Ms. Smith and Mr. Smith reveal their exceptional prowess in performance level. I saw flesh and blood individuals in front of me who made me laugh, made me think, made me pause and made me aware that all individuals are not cut and dried and that not every thing can be considered black and white. There will always be unique grey areas when we encounter unaffected human emotion coupled with honest behaviour and, as Hayden Taylor told us in the audience talkback following the performance, that’s where he finds the drama that makes for articulate and interesting character development. This was especially true near the play’s conclusion. As Arthur sits in his canoe and Maureen on the rock, each exchange emotionally heartfelt and poignant words resulting in complete silence among the audience members. I could sense each of us was on every clear word uttered by these two terrific actors and wondering how they might respond to the other. Good stuff happening on that stage. Don’t miss this one. Running Time: approximately 80 minutes with no intermission As of Friday July 16 extreme weather will no longer be an issue when selecting your performance night. Now that Ontario enters Step 3 of the province’s re-opening plan, Theatre on the Ridge will be able to provide an alternate venue for any performances that may be impacted by severe weather. ‘Cottagers and Indians’ by Drew Hayden Taylor Production Staged by Theatre on The Ridge with the generous support of the Mississaugas of Scugog Island First Nation Producer and Director: Carey Nicholson; Stage Manager: Christina Naumovski Sound: Lyle Corrigan; Lighting: Andy Williamson Performers: Amanda Jane Smith, James Dallas Smith Performances: July 17, 20, 21, 22, 23 and 24 at 7 pm in the West End of Water Street Parking Lot #5 (Water and North Streets), Port Perry. To purchase tickets online: http://www.theatreontheridge.ca/whats-on.html. Theatre on the Ridge is a member of the Safe Travels Stamp program and observes all current mandated Covid gathering protocols and restrictions. Previous Next

Back 'Casey and Diana' by Nick Green Now onstage at the Studio Theatre at the Stratford Festival Cylla von Tiedemann. Krystin Pellerin and Sean Arbuckle Joe Szekeres VOICE CHOICE 'Casey and Diana' serves as a masterclass in acting from start to finish. It is a powerful, inspiring, emotional, and hopeful experience. Toronto’s Casey House opened in 1988 and was one of the first hospices in the world to provide palliative care and support for people living with HIV/AIDS. In October 1991, the late Diana, Princess of Wales, visited the hospice. Her historic visit helped to change public attitudes toward people living with HIV/AIDS. The late Princess was photographed shaking and holding hands with one of the residents. The picture went viral in newspapers worldwide putting a recognizable human face of care and compassion against the anxiety and homophobia at that time. Playwright Nick Green’s world premiere of ‘Casey and Diana’ dramatizes the Princess’s (Krystin Pellerin) visit. The play opens that morning. Excitement builds as the residents and the caretakers realize how significant this moment truly is, especially Thomas (Sean Arbuckle) who is fascinated with the British royal family. He remembers everything about Diana’s wedding to the then Prince Charles. ‘Casey and Diana’ also incorporates flashbacks where Thomas meets his new roommate André (Davinder Malhi). We also meet hospice nurse Vera (Sophia Walker) and volunteer Marjorie (Linda Kash). Thomas’s sister, Pauline (Laura Condlln), also becomes an important individual in the story. The hospice room designed by Joshua Quinlan for Thomas and André is spacious. The stained-glass artwork reminded me of the pieces found at Casey House from pictures I've seen. The lighting design by Louise Guinand expertly captured the emotional highlights of the production, including a visually stunning moment where several characters were individually spotlighted. Debashis Sinha’s work as Composer and Sound Designer is noteworthy. The selection of the choral singing of "I Am Who I Am" from "La Cage Aux Folles," heightens the drama and adds to the overall beauty of the performance. Andrew Kushnir's gentle direction of Nick Green's extraordinary script exudes unparalleled human compassion towards the subject matter. This exceptional production evokes an important message from Anne Frank's diary: "In spite of everything, I still believe people are good at heart." Despite the fear and homophobia at that time, the goodness radiating from each of the characters' hearts left many in tears around me. The entire production remains an acting masterclass from beginning to end. Sean Arbuckle's Thomas is a unique blend of a grumpy old man and a stylishly sassy individual, as evidenced by his sarcastic humour and clever banter. His references to the popular TV show 'The Golden Girls' and the film 'Steel Magnolias' are strategically placed for comic relief and hit home with their poignant message. As Thomas’s often petty and bitchy sister, Pauline, Laura Condlln meanness remains palpably cruel. Davinder Malhi’s André exhibits a palpable sense of unease regarding his stay at Casey House, as well as the challenging circumstances in store for him. Nevertheless, André displays a mischievous wit that elicits laughter from the audience during a well-timed "gotcha" moment with Thomas. Krystin Pellerin emanates the same kind of magnanimity that Princess Diana was known for. At the beginning of the play, Pellerin conveys immense warmth and kindness towards Arbuckle when she first meets him. That iconic handholding between Thomas and the Princess is truly breathtaking as there is a great deal conveyed in that silent moment. 'Casey and Diana' is remarkable for its ability to establish a connection with and understand healthcare workers at Casey House who tirelessly provide care despite facing homophobia and stigma related to the HIV/AIDS virus at that time. This message is especially relevant today, given the ongoing effects of the Covid pandemic and the heroic efforts of healthcare workers that deserve appreciation. The play's message is timeless and has a profound impact. Vera, portrayed by Sophia Walker, exudes a professional and efficient demeanour as a nurse who acknowledges the need to maintain emotional distance from the residents' struggles. Despite her composed appearance, Walker effectively conveys Vera's underlying emotional distress when expressing her apprehension about confronting individuals like Thomas's sister, Pauline, who can be cruel. Meanwhile, Linda Kash delivers a convincing portrayal of the at-times bubbly and chipper Marjorie who has suffered the loss of numerous friends to AIDS/HIV. Despite this, Marjorie remains optimistic and resilient, recognizing the importance of moving forward amidst the turmoil both inside and outside of Casey House. Vera and Marjorie allow themselves to grieve their losses at their own pace, but they draw strength from their sense of purpose and their commitment to connecting with the residents and maintaining a hopeful attitude. Despite the challenges, they persevere. It’s not easy, though. There is one rather poignant moment in the second act when Kash's wrenching response tugs at the heartstrings. Final Comments: A tremendously moving story of tears and laughter, ‘Casey and Diana’ will most assuredly become an important part of the Canadian theatre canon. While there is a sense of beautiful finality as the story has concluded, Nick Green’s story will continue to remain within the heart long after the curtain has come down and the audience leaves. A story not to be missed. I hear some performances have been added so check the website as the play closes soon. Running time: approximately two hours and forty minutes with one interval. ‘Casey and Diana’ runs to June 17 at the Studio Theatre, 34 George Street, Stratford. For tickets, visit stratfordfestival.ca or call 1-800-567-1600. ‘CASEY AND DIANA’ by Nick Green World Premiere of a Stratford Festival Commission Director: Andrew Kushnir Designer: Joshua Quinlan Lighting Designer: Louise Guinand Composer and Sound Designer: Debashis Sinha Producer: Dave Auster Stage Manager: Michael Hart Performers: Sean Arbuckle, Laura Condlln, Linda Kash, Davinder Malhi, Krystin Pellerin, Sophia Walker. Previous Next

Back & Juliet Broadway Bound production now onstage at Toronto's Princess of Wales Matthew Murphy Joe Szekeres An imaginative and unique new idea about a ‘What-if’ situation involving two of Shakespeare’s star-crossed lovers (Updated July 11 for correction of information) In exiting the Princess of Wales Theatre after seeing an extraordinary ‘& Juliet’, I turned to Marg, my high school friend who accompanied me, and called out to her the Food Basics catchphrase we all know: WOWZA! There’s flashy pizzazz, lots of glitter, and raucous spectacle which add to the heaping mound of the excitement of this first-class experience of sight and sound in this behemoth of a play within a play musical, but I stripped away all of that to see if there is a story underneath. Is there a story, a good one at that? Absolutely!!! ‘& Juliet’ becomes a rollicking, boisterous, uniquely clever panoply of incredible music set against the backdrop of envisioning Juliet did not die at the end of Shakespeare’s most famous tragedy. Instead, we are led through Verona and on to Paris, France, where the young heroine begins her life again first under her parents’ (terrific work of understated proportion by Nicholas Edwards and Veronica Otim) tyrannical rule. That all changes as the story progresses. ‘& Juliet’ is a stunning twenty-first-century imaginative coming-of-age tale where the central character begins to accept life on her own terms and become her own person. Lorna Courtney is marvelous. Her majestic vocal pipes nearly blew the roof off the theatre. I’m trying not to spoil too much as future audiences must experience this hell of a ride themselves. But here goes: We are introduced to Shakespeare (a dashing Stark Sands) who wonders whether the ending to ‘R & J’ needs to be re-written. Enter his wife, Anne Hathaway (a bold and sassy Betsy Wolfe) who got a babysitter for their two children while she and her husband engage in the re-writing of the text. And the task to create is underway. The plot details go back and forth in time where we meet Romeo (Ben Jackson Walker) who laughingly at one point referred to himself as a tight, six-pack muscular guy who really isn’t the man we initially thought he was. We also meet Juliet’s Nurse (an audacious and plucky performance by Melanie LaBarrie) who continues as her lady’s beloved confidante while showcasing and revealing her true innermost thoughts and feelings to the events around her as they all move forward into the next chapter. Amid this back and forth in time, we meet other characters who become linked with Juliet in her new life: Francois (Philippe Arroyo) a suave debonair gentleman who is set to marry Juliet so that she can begin her life again. Francois’s wise father Lance (Paulo Szot) wants what’s best for his son while harbouring a past that made me laugh out loud once we know what occurred. Juliet’s gender-fluid friend May (Justin David Sullivan) becomes an important modern element of this modern take on the love story and what this emotion truly means for an audience. Can’t forget the superlatively energetic Company of Players. What struck me so keenly at first was the diversity of individuals of various heights and sizes. This lively energetic and spirited troupe attacked Jennifer Weber’s to die-for choreography with focused strength and supple agility. I haven’t seen break dance movements like this in a very long time. I’m not that huge a fan of rap. Nevertheless, when you take these tunes and score them to incorporate break dance, all I can say is: “Hot damn, clear the floor and let these people strut their stuff” which they do with confident aplomb. About halfway through the first act, one thing struck me about this Broadway-bound production. It is staged productions like ‘& Juliet’ that will bring young people into the theatre and get them loving the art form so much they will want to learn more. As a retired teacher of English who had taught ‘Romeo & Juliet’ for many years, I would highly recommend teachers to bring classes to see the production after having finished and studied the play. Students will not get many of the ‘in jokes’ throughout until they understand the context in which these one-liners and zingers are delivered. Scenic designer Soutra Gilmour’s visual look remains stylistically impressive. Upon entering the auditorium during the preshow, the larger-than-life logo is centre staged. Andrzej Goulding’s visual projections on the back wall and side walls contain those earth-coloured tones reminiscent of the Elizabethan era. Goulding then effectively incorporates multi-coloured tones for many of the choral/company numbers. Pay close attention in the second act to ‘The Bois Band’ (you’ll get the joke when you see the show). Slightly angled stage right is a jukebox with the letter E propped against it. The visual impact of the jukebox at the conclusion of the show remains in my mind. What appears to be an architect’s workstation desktop can be found stage right with the letter O propped against it. Around the stage are other letters you can probably guess that will spell someone’s name from the show. Paloma Young’s Costume Designs reminded me of a cross between a punk/steampunk clothing style which looked great. Howard Hudson and Gareth Owens Lighting and Sound Designs vividly encapsulate crowd scenes or heart-to-heart conversations between two people. I gotta hand it to Bill Sherman as Music Supervisor, Orchestrations and Arrangements. Hearing all these Max Martin tunes blew me away and left me speechless. During many of the company numbers, many around me were waving their arms in the air as if we were all attending a concert. It all seemed natural and convincing in the way the songs were introduced in the story. Advice to future audiences: just sit back, watch, listen, hear, and enjoy. Finally, Luke Sheppard’s inspired direction remained intently focused on two elements he successfully accomplished: to tell a good story and to make sure audiences had a good time. Sheppard more than succeeded. He lovingly gave back to an adoring Covid weary theatre crowd who just wanted to have one hell of a good time. I know I did. Running time: approximately 2 hours and 30 minutes. ‘& Juliet’ runs to August 14 at Toronto’s Princess of Wales Theatre, 300 King Street West. For tickets, visit mirvish.com or call 1-800-461-3333 & JULIET Music and Lyrics by Max Martin and Friends. Book by David West Read Directed by Luke Sheppard Music Supervisor, Orchestrations & Arrangements: Bill Sherman Cast: Lorna Courtney, Paulo Szot, Betsy Wolfe, Stark Sands, Justin David Sullivan, Melanie LaBarrie, Ben Jackson Walker, Philippe Arroyo, Brandon Antonio, Michael Ivan Carrier, Nico DeJesus, Nicholas Edwards, Virgil Gadson, Katy Geraghty, Bobby “Pocket” Horner, Joomin Hwang, Alaina Vi Maderal, Daniel J. Maldonado, Joe Moeller, Brittany Nicholas, Veronice Otim, Jasmine Rafael, Matt Raffy, Tiernan Tunnicliffe, Rachel Webb. Previous Next

Back 'The Wild Rovers' Now onstage until November 5 at Toronto's Winter Garden Theatre, 189 Yonge Street Credit: Ritche Perez. Pictured: Members of The Wild Rovers' Ensemble Joe Szekeres "It’s not a total train wreck of an opening night. The terrific-sounding harmonies in some songs, the fantastic band led by conductor Kelly-Ann Evans, and some clever drama school staging make up for the insipidly silly plot." Like all kids who grew up in the sixties and seventies, I remember ‘The Irish Rovers’ on CBC television. The only song I remember was ‘The Unicorn.’ Fast forward to The University of Western Ontario in the late 70s/early 80s, and ‘Wasn’t That a Party’ was the anthem for most first and second-year undergraduates. Feeling nostalgic, I took to heart Executive Producer Bob Hallett’s programme note. ‘The Wild Rovers’ would not focus on the actual band members or their lives but instead capture their larger-than-life magic, incredible charm, and easy humour. Canadian East Coasters have this gregarious, ‘joie-de-vivre’ nature when they gather and sing at kitchen parties or pubs. Granted, the beer and wine must also help. I discovered that when I visited Newfoundland a few years ago. We Ontarians don’t seem to espouse this joy of life as the East Coasters. And as for the opening night of ‘The Wild Rovers’… “Well”, (as Samantha Stephens used to say on ‘Bewitched’). Younger readers may have to Google her. Readers my age and older will hopefully get the reference. Outside of the terrific-sounding harmonies, the fantastic band led by conductor Kelly-Ann Evans, and a couple of clever drama school staging techniques, this ‘meh’ jukebox musical didn’t capture more of the charm and spirit for me as I had hoped. Steve Cochrane’s book becomes confusingly silly, and I soon lose interest in the plot. But I push through. In the opening, we meet pseudo-story narrator Maggie (Sean Panting). A bit of a groaner as to why he’s called Maggie, and I won’t spoil it here. The story begins waaayyyy back in 19 89 (c’mon, now you’re starting to grate on my suspension of disbelief). We then meet ‘The Wild Rovers’ – Billy (Steve Maloney), Jordy (Philip Goodridge), Josephine (Julia Dunne) and the bus driver, Sheila (Vicki Harnett). The band is on its way to Grand Falls, Newfoundland, when they oddly encounter Maggie and somehow enter a portal and are whisked away to a magical world called Athunia, not to be mixed up with their sworn enemies, Ethunia (and yes, the two terms are pronounced similarly). “Uh oh!” (another ‘Bewitched’ reference from Samantha Stephens. Google it if you must). This ‘madcap’ plot challenge tests my suspension of disbelief even more. I’m trying to remain focused, but I’m losing interest. Quickly. Somehow, amid all this transport back in time, we meet those who live in Athunia/Euthania. Since the pronunciation sounds similar, I couldn’t tell where they were from. Princess Hiya (Melanie O’Brien) will soon marry Prince Farid (Powell Nobert). After this, I lost interest in this ‘magical story’ and no longer cared about these characters. But onward, I tried to decipher as best I could. Somehow, a magical egg is found (?), and courtier Roguish Rick Castley (Liam Lynch) will help find this egg. And then there’s a reference to a dragon that didn’t interest me. God, I don’t care about the book’s plot anymore. Is there something that can save this opening night for me? Do I need a beer or a glass of wine to keep me going? Some of the musical numbers save the show from being a train wreck. The actors are pouring their hearts out in song, and now it becomes ‘magical’ for me to listen to them sing. The opening number: ‘The Orange and the Green’ is lovely. Other highlights: ‘Donald, Where’s Your Troosers?’, ‘Drunken Sailor’, ‘The Unicorn’ and ‘Black Velvet Band.’ At one point, artist Liam Lynch demonstrated an impressive falsetto range. Director Jason Byrne has staged some clever drama school techniques that nicely worked for me. The use of cardboard to show the band travelling via bus is clever. When the plot switches to a ship at sea, some of the cast move a board with a sailboat on it up and down to indicate the waves in the water. Again, drama school technique, but it works here. Final Comments: I had seen the production of ‘Let’s Dance the Musical’ staged by Terra Bruce. It was another jukebox musical, but I enjoyed that one because I could look past some of the flaws in the book. After all, the singing and the choreography on that opening night did make for good theatre for me. The terrific songs and harmonies and the onstage band in ‘The Wild Rovers’ are splendid. I wish more were going for the production in the insipidly silly plot. Running time: approximately one hour and 40 minutes with no intermission. The production runs until November 5 at The Winter Garden Theatre, 189 Yonge Street, Toronto. For tickets, call (416) 314-2901 or visit ticketmaster.com or terrabruce.com to learn more about the company. Walter Schroeder and Terra Bruce Productions present ‘The Wild Rovers’ Book by Steve Cochrane, Inspired by the Music and Magic of The Irish Rovers Book Writer: Steve Cochrane Director: Jason Byrne Musical Directors/Arrangers, Additional Music: Kelly-Ann Evans and Josh Ward Production Design: Graham McMonagle Lighting Design: Leigh-Ann Vardy Sound Design: Don Ellis Puppet Direction & Design: Baptiste Neis Performers: Julia Dunne, Philip Goodridge, Vicki Harnett, Liam Lynch, Steve Maloney, Powell Nobert, Melanie O’Brien, Sean Panting, Nicole Underhay Band: Alex Abbott, Sultan Dharamshi, Keith Doiron, Kelly-Ann Evans, Grant King, Paul Kinsman, Dan Smith, Josh Ward Previous Next

Back Christel Bartelse Canadian Chat --- Joe Szekeres As we slowly emerge from this worldwide pandemic, it has been fascinating to discover how many artists have found themselves on new paths moving forward and heading into a future unknown to all of us at this time. Actor, storyteller, writer, creator and teacher Christel Bartelse’s profile shows she has prepared herself to head into this unknown future but she appears to be equipped with what the future might or can possibly bring to her. Christel discovered theatrical clowning at the age of 21 and honed her skills with some of the top instructors, including Mike Kennard, John Turner (Mump and Smoot), Sue Morrison, Philippe Gaulier, Francing Cote, Andy Massingham, and Caroline Dreaming. She got her start in comedy with the physical comedy duo, The Burnt Marshmallows (Canadian Comedy Award Nominees). She has also created and written six award-winning solo shows (Chaotica, ONEymoon, Significant Me, All KIDding Aside, The Surprise and Encore!), which have toured across Canada, the U.S. and the U.K. Christel is currently promoting her online Comedy School called Comedy Coop (Home for Hilarious Chix). She is one of the co-founders and an instructor of Physical Comedy. Comedy Coop is a unique training ground for women (including female identifying/non-binary students) to explore their passion for comedy and get their comedic voices heard. This school is the first of its kind in Canada. For more information, please visit www.comedycoop.ca . We conducted our conversation via email. Thank you so much for the conversation, Christel: Since we’ve just celebrated Thanksgiving, tell me about some of the teachers and mentors in your life for whom you are thankful and who brought you to this point in your life as a performing artist. I’m very grateful for my early drama teachers - Dorothy Leitch in Kitchener at the Beckett School and Mrs. Catherine Carlson, my drama teacher, at Grand River Collegiate. Both these women were great teachers who believed in me and fueled my passion in acting. I’m also grateful to Andy Massingham, who is now a great friend and colleague. I looked up to him in my early days because he is a great physical theatre/comedy performer, teacher and it’s been a delight to work with him over the years on some shows. I believe everyone you me teaches you something in some way. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? Now that we’re moving towards all restrictions lifted, it really feels like we’re moving on. The one positive about Covid is that it really forced me to slow down and take some time to reflect. As an artist, and educator, I was always on the go, always busy, so it was nice to just take a pause and reflect on it all. However, I have been teaching a lot over the last 18 months and it was a great challenge to figure out how to teach physical comedy and clowning over Zoom. And I really made it work. It taught me, when faced with a challenge, you find a solution. My husband and I also lived out in the country for a long time with my parents, and I am grateful for all that time I had with them when so many couldn’t see their loved ones. But we did miss the energy of the city. Now that things are open, it has been exciting to go out again, see friends, go to restaurants, go to shows and perform again. We do love all the stuff the city has to offer and realized how much we missed it. The buzz of the city and people is wonderful. I did a lot of things during the pandemic because I hate being bored. I was actually very busy, so I’m taking more time to applaud what I did, rather than chronically beat myself up, which I’m very good at. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? Just before Covid hit, I was re-writing and re-working my solo show ONEymoon. I had performed it on and off for several years but wanted to give it a full revamp. I was headed to Brighton, and London, UK with the show in May of 2020. That was all cancelled when Covid hit and I lost my mojo for working on the show. I felt so uninspired to work on something I didn’t know when I would get to do again. That was hard because I always had such a drive to create. But, at the same time, I continued my Storytelling Show online and the silver lining was that I met artists from all over the World I normally wouldn’t have had the chance to meet. I also started my online comedy school for women, Comedy Coop, with my colleagues because we figured online classes in some capacities are here to stay. I want to help people and bring laughter and joy to those who I can, especially when the World feels so dark. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I think very slowly it’s starting to come back. You are able to go and see a play, and that’s exciting. But it for sure has changed. Can we ever sit in a packed theatre again and feel fully relaxed? Who knows? Also, I think theatre companies/productions had to get more creative with virtual shows, pre-filmed productions, and I think some of that will stay - I hope it does in a way since it expands the potential audience for a show beyond geographies. So many people lost work, and some moved on. I think it will be interesting to see the content that is created as well, after we’ve all been through this. What excites/intrigues/fascinates/interests you post Covid? I’m excited to get back to creating and performing again; in this new “normal” I hope to be able to tour and travel again, and excited to return to festivals from years past. I’m excited to go and see shows and movies again in a theatre. I’m also excited that so many huge Global issues were brought to the forefront and people are taking more care, paying attention, and listening. So, I'm interested to watch the type of work that will be created. The innovation that came from this time. But I’m intrigued to see what will happen. It still feels like everyday there is new information. Can we get over to the other side? What disappoints/unnerves/upsets you post Covid? It’s still disappointing to see people who don’t take the pandemic seriously or are selfish in their views. They don’t care about others, only themselves. That people are still so mean to others. I’m still unnerved with the uncertainty of the future. It’s hard to plan anything when you don’t know what will happen in a month from now. Fingers crossed we continue to get through this, but no one knows, especially when you see places such as the UK going in the wrong direction again. Where do you, the artist, see yourself going next? For a long time, I’ve been wanting a big change. I still don't know what that means, but the pandemic has taught us you can work from anywhere. Self tapes have allowed this. Classes online etc. So, I'm looking to maybe try out my craft in a new place? I’m also excited to work on a new Solo show. It’s been a few years since I’ve created one and I’m itching to do this. I’m excited to continue building this online comedy school. I believe it has so much potential. And I’m excited to be back doing “live” storytelling and comedy shows again. Where do you, the person, see yourself going next? On a wild adventure. I just need to get over my fear and take a leap of faith. And also see what travel looks like, post pandemic. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and ‘Inside the Actors’ Studio’ for this format of questions. If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? “Thank you. I appreciate you more than you know.” As a teacher myself, I know how little teachers get thanked. So just a simple thank you for all you did, goes a long way. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? “I’m glad I didn’t listen to you. But thank you for pushing me harder.” When someone thinks I can’t do something, I’ll go out of my way to prove that I can. What’s your favourite swear word? Fucking Fuck! What is a word you love to hear yourself say? Ridiculous. What is a word you don’t like to hear yourself say? Can’t. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Slow down and trust it will all work out. With the professional life experience you’ve gained over the years, what would you now tell the upcoming you from years ago who was just in the throes of beginning a career as a performing artist? Keep going, work hard, believe in yourself and when a door slams in your face, it will only make you work harder. Oh, and also, don’t try to do 500 things all at once. Focus on one thing at a time. (even though I haven’t learned this as my older self yet, ha) What is one thing you still wish to accomplish both personally and professionally? Personally, there are so many places I’d still love to travel to. I’ve been grateful for my travels so far, but 2 years without it, I’m dying to get on a Plane. First stop would be Italy. Professionally, although my first love is live theatre, storytelling and comedy, I really would love to do more film/tv. I’m hungry for this. And love being on set. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. I’d love to go back to my 20’s when I was doing a ton of improv and sketch comedy. I would want to revisit this because there were so many incredible people around who were all just starting out, and we were all having the best time. This was well before anyone had phones, or social media, so we were all just so present with each other, and it really was word of mouth to get people to come and see you. Would you do it all again if given the same opportunities? Being in the Arts, as unpredictable and wild as it is, I wouldn't change it. I have amazing stories to tell, I have met so many incredibly talented people and I’ve been able to see and tour the World while doing what I love. And wow, have I laughed which keeps you vibrant and young. As far as teaching goes, I have loved watching myself evolve and learn, not only from myself but all my fabulous students. Previous Next

Back Randy Graff Moving Forward Michael Kushner Joe Szekeres The other day I was perusing some online pages about original Broadway companies and I saw the cast list for the first New York production of ‘Les Miserables’. I remember on my first trip to NYC that I tried to get tickets for the production and was told by the box office ‘What planet did I live on as I was to return in five years?’ I laugh about that now as that was the same response the Toronto box office used to give for the original Canadian company of ‘Les Miserables’ as well. As I reviewed the New York cast list online, it was great fun to see Colm Wilkinson’s name (who later played the Phantom in the original Toronto production) and then I came across Randy Graff’s name. She had originated the role of Fantine. It suddenly dawned on me that I remember hearing Randy sing the titular ‘I Dreamed a Dream’ on the original Broadway LP album. I thought, well, why not try to get in touch with Randy through her webpage to see if she would be interested and available for an interview. And I am grateful she responded in such a timely manner and welcomed the opportunity for the interview. I encourage everyone to visit her website as she holds an extensive resume in the performing arts industry. Randy has been an instructor for the past four years at Manhattan School of Music. She also received the Tony award for her work in CITY OF ANGELS (another hell of a good show, by the way). Randy has appeared on the Broadway stage, off Broadway, regional theatres and concert halls. She has appeared in such productions as ‘Moon Over Buffalo’ and ‘Laughter on the 23rd Floor’. Randy now appears in the Original Broadway cast of 'Mr. Saturday Night' opposite Billy Crystal. We conducted our conversation via email as she is one busy lady right now in her work as an active arts educator. Thank you so much for taking the time to answer questions, Randy: As an active arts educator and instructor for the past four years at Manhattan School of Music, what has been the most challenging moment of your teaching during this pandemic? There have and continue to be a few challenges about teaching musical theater performance during the pandemic. The first was purely technical. How to use Zoom? I had never even heard of it. Fortunately, we have great tech support at MSM. They offered us workshops and tutorials, and really invested in getting the faculty ready. I'm less of a luddite now. A little pandemic perk. But, what continues to be a challenge is how I keep my students engaged when we are not live in the classroom. How do I keep them excited about learning on a screen, when they're taking class from their bedrooms, dorm rooms, bathrooms and parent's cars? When we went into lockdown last March it was a little easier because I had already been working in the classroom with my students since September. I knew who they were as people and artists. The start of this school year, with a brand-new group of students. was one of the bigger challenges for all of us. We're six weeks in and now, I feel like I have more of a sense of who they are, and I think, they do of me. As a professional educator, what words of wisdom and sage advice have you been sharing with future artists given the unknown and uncertainty of the live performance industry? Have these messages been positively received? Ahhh, I want always to be honest with them. This sucks! It's hard and depressing, so go ahead and allow yourself to feel all those things. Then remember, this is temporary. You are always going to have down time in your chosen profession. This happens to be an extraordinary pause, and we are still uncertain about when live theater will return and how it will return. I never say if, because I am certain it will, and my students need to hear that truth from me. So, ask yourselves what you want to do with this time, and remember there is no wrong answer. You can stay connected to your art, or you can decide to get a real estate license or become an architect. What feels right to you? If you have chosen to be in school, then work hard at your craft. There is much to be learned about expressing yourself through the Zoom platform. More on that later. I find that when I don't lecture my students about what they should do, regarding Covid, they feel empowered to make their own decisions, and then my words are well received. As an artist and educator, do you see anything positive stemming from Covid 19? On a personal note, the pandemic has taught me to be more present. To take life one day at a time, and to be even more grateful for the wonderful friends, family, and colleagues in my life. It's taught me to take better care of my health. It has reinforced what I already know about live theater. We need it. Desperately. To unite us, teach us empathy, and when the day comes where I can sit in a packed house and watch my favorite performers on stage, some of which may be my very own students, I will cry buckets of happy tears. As an educator, I see my students finding imaginative ways to connect with each other and with students all around the country. Some are doing Zoom play readings, their own work included, and having group discussions after. Many are using the time to self-tape monologues and songs and get them up on their websites. They've started Youtube channels and some are Zoom directing as well. All motivated by the pandemic. They have acquired mad techno skills! Honestly, some of these tapes are so impressive! They look like mini independent films, and their own acting/singing work has deepened. The multitudes of feelings they live with on a daily basis, because of life during the pandemic, has absolutely fueled them as actors. As an artist and educator, what kind of impact will Covid 19 leave on the Broadway industry? This is a tough question. I don't know how it's going to impact our industry. When it comes back, when audiences are willing to gather inside a Broadway theatre, I suppose there will have to be a new financial model so a show can sustain itself. I trust that our unions and the Broadway League will figure it out. This much I do know; there will be an appreciation for the work by and for everyone who is responsible for it, onstage and off, that is so filled with love and joy. I might want to bottle and sell it. I need to think of a name. Any suggestions? Share with us your honest opinions about online streaming and You Tubing dramatic/musical work for others to see. Will streaming and You Tubing be the new media for the future artist going forward into the unknown? Honestly, I'm grateful for the live streaming right now. The opportunity for a young kid in the middle of nowhere to see "Hamilton" or the National Theatre's "Frankenstein" is awesome. I've also participated in Seth Rudetsky's "Stars In The House" with two cast reunions; the OBC of "Les Mis" and "City of Angels." It was so wonderful to see everyone in their little squares, and all donations go to the amazing, what would we do without them, Actor's Fund. I watched the "Sondheim 90th Birthday" live stream celebration in tears and loved BD Wong's "Songs from An Unmade Bed," which I saw on YouTube. As far as going into the unknown future, we, as educators, have a responsibility to prepare our students for it emotionally and practically. I do think it will continue to be a part of our art form. Streaming and YouTube are great platforms for artists to get their work out there to entertain, inspire and educate. Of course, it's not the real thing no matter how well it's filmed and watching them does have a twinge of "oh, I wish I was in the theatre." I do feel that there needs to be some payment made for people's work, and that's complicated, maybe even prohibitive, considering all the people who should be compensated. On another streaming note, I'm a Netflix addict. So there's that. Have you seen "The Queen's Gambit?' Fabulous! (Joe agrees it is a wonderful series) Despite all of the tension and drama surrounding the live entertainment industry, what specifically is it about performing that Covid will never destroy for artists now, the mid career artist and the upcoming and future artists? I'm going to quote Arthur Miller on this, because his words are far, far better than mine. "There is a certain immortality involved in theater, not created by monuments and books, but through the knowledge the actor keeps to his dying day that on a certain afternoon, in an empty and dusty theater, he cast a shadow of a being that was not himself, but the distillation of all he has ever observed; all the unsingable heart song the ordinary man may feel but never utter, he gave voice to. And by that he somehow joins the ages." To learn more about Randy, visit her website randygraff.com or her Official Fan Facebook page: Randy Graff Previous Next

Back Matthew G. Brown Self Isolated Artist David Leyes Joe Szekeres I first saw Matthew’s work on stage at the Stratford Festival in an extraordinarily moving ‘To Kill a Mockingbird’ (directed by Nigel Shawn Williams). Matthew’s marvelously anguished performance as the wronged Tom Robinson earned him a Broadway World Award nomination for best performance by a male in a featured role. Matthew’s brief appearance and image as the eerie Soothsayer in ‘Julius Caesar’ that summer was haunting. Here is someone whom I hope to see on stage in the future when it’s safe to return to the theatre. And holy moly, Matthew Brown is one busy guy after I read his biography. His diversified project work in television, theatre, and film are solid. Along with these projects, Matthew has also received excellent training at fine institutions across the country including the Canadian Film Centre. Matthew and I conducted our interview via email: It has been the almost three-month mark since we’ve all been in isolation. How have you been faring? How has your immediate family been doing during this time? My immediate family and loved ones have been good and healthy which is lucky. I’ve been doing ok…for the first part of the pandemic I would swing from ‘completely unbothered’ by everything to ‘I want to pull all of my hair out! When will this be over?!’ It would all depend on the day that you caught me. Since the topic of race has come into the global conversation, it has brought up a whole new set of challenges and mental health hurdles to navigate. That being said: I am hopeful that this wave of activism and the calls for change won’t just disappear when it’s no longer trendy and things open up again. As a performer, what has been the most difficult and challenging for you professionally and personally? Not having access to any gyms or dance studios has been rough. I’ve invested in a tap dance board just so I can have somewhere to dance and stay fit. It’s also a challenge when it feels like there is no end in sight. We’re sort of programmed as performers to hustle and always be on, looking for the next thing. While I believe sitting still is a very good thing, it can cause anxiety when you don’t think there is any end in sight. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? Just before the lockdown, I had shot a series of commercials for a major company. They had asked me if I was available to shoot another one at the end of March, which was obviously canceled. The commercials that I’ve already shot are currently in limbo as the company is putting the ad campaign on hold. I was in the planning stages of having a reading of a Web Series that I’ve been developing for the past two and a half years at the end of March (again, canceled) and I was about a month away from starting rehearsals for Musical Stage Company’s “Kelly V. Kelly” at the Canadian Stage’s Berkley St Theatre. Once’ Kelly V. Kelly’ was finished I was set to play Antipholus of Ephesus in ‘Comedy of Errors’ in Toronto’s High Park this summer. COVID blew a lot of things up for me :D We’ll see if the commercials see the light of day…hopefully they will, I thought they were funny. What have you been doing to keep yourself busy during this time? As I mentioned above, I tap dance to try to keep myself moving (apologies to my neighbours). I’ve also participated in some Zoom readings of film scripts and Shakespeare just for fun. I’m trying to move the read-through of my Web Series to Zoom so that I can finish developing the show and begin to work on pitching it. Speaking of pitching, a friend of mine (John Virtue) has written a great feature film that I hope to be in. Funny enough, the movie is about being trapped in a room, so you know…topical! During quarantine, he and I have chatted about how we can possibly make this movie/get funding…so I’ve been trying to remain positive and keep myself busy. I’ve also invested in a home studio with a microphone so I can try to do some voice work from my home. I’ve also been playing a TON of video games as that’s my favourite form of escape. Currently, I’m playing ‘Persona 5: The Royal’, ‘Samurai Shodown’ and building up a sweet island in ‘Animal Crossing’. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I can’t imagine just coming out of theatre school and into this climate, so that’s a bit of a tough one. I would say take this time to do the work and research you can from home. Read plays, research roles that you would like to one day play, dabble in some writing if you can. Finding ways to stay artistically motivated during times like this are hard, but they will be helpful. That being said, be kind to yourself on days where you don’t have it in you. Take the time for self-reflection, don’t feel guilty if you didn’t do any work today. There’s no “machine” running right now, so just do what you can so you’re prepared for when things start again. Do you see anything positive stemming from COVID 19? I think that, whether we like it or not, COVID-19 has forced the world to collectively pause and examine itself. I genuinely think that’s why so many white people are finally hearing us about police brutality right now. There are no other distractions, no theatre to see, no sports to watch, no room for blissful ignorance, and that may end up being a good thing. I hate that it took a global pandemic that equals thousands sick and dead, and the death of more black people, for society to take racism seriously; but I definitely hope that it will make people really examine the systems that we have in place and how they negatively affect our society. If not now, then when? Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Yes, both negatively and positively. As I said, it has forced us to examine our industries and their practices. I think this can lead to a positive change. We’re already seeing that begin with the proposed changes to “as Cast” contracts. Hopefully, more action will be taken to make performing arts across all platforms more inclusive. I also think that there will be a negative impact on house sizes and getting people to return to the theatre because there will be the worry of feeling safe from COVID. Not to mention the financial hit the industry is taking by closing all of its sets, theatres, and sound stages. However, if we bring new and exciting voices to our big stages and give BIPOC an opportunity to tell their stories as well, the positive impact could fix the negative impact as people will want to rush back to the theatre to hear their voices represented…if that makes sense. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I’ve thought hard about this one since Quarantober began (that’s what I’ve been calling this since March…it’s just one long month…right?). Nothing will replace live theatre. The experience of sharing the same oxygen as the performers you’re watching cannot be duplicated. However, I do think it may not be a bad idea to examine other ways to make theatre more accessible to more people. Take sports for instance: for better or worse, sports are going to find a way back. They will play with no fans in the crowd and rely on their TV deals and merchandise to make money. If you watch a sporting event on TV, it’s fun, you enjoy it. However, I think most sporting fans will agree that there is nothing like being there. Sports have been televised for years, and yet they still are able to sell their live experience as well as sell their product on television. Why can’t theatre do the same? Maybe if we had the infrastructure in place to shoot our shows, there would be a path to get back to work sooner? Perhaps a pay-per-view service of some kind where a season subscriber could have access to shows online, but everyone would know that to get the best experience you have to be there live. Of course right now, we’d be doing theatre with no audience, but we could still do something and be able to (hopefully) keep performers safe at work, while providing theatre to our audiences in the safety of their own home. Also, I’m fully aware that this kind of thing could only apply to really big-budget theatres like Broadway, Stratford, Shaw, Mirvish, and the like. If something like COVID-19 has the ability to shut down our entire industry for a year, it might not be a bad idea to revisit how we get our medium out there for people to experience. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? Family and friends. We’re blessed to live in a time where a loved one is just a phone call or video chat or text away. We’re also blessed to have the outdoors, books to read, internet to stream with, hours upon hours of television to consume and tons of video games to experience. Although this pandemic really does suck, we have a lot to be grateful for if we just slow down and appreciate all of the small ways that we are privileged. COVID can’t take away the little things. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Excellence 2. What is your least favourite word? Necessarily 3. What turns you on? Ambition 4. What turns you off? Bigotry 5. What sound or noise do you love? Singing 6. What sound or noise bothers you? Sliding a full metal water bottle across a table. You know the sound… 7. What is your favourite curse word? It’s a Jamaican curse word and my mom would kill me if I dropped it in this interview, so I’m a chill. (laughs) What is your least favourite curse word? See you next Tuesday 8. Other than your own, what other career profession could you see yourself doing? For a while I really wanted to be a massage therapist. 9. What career choice could you not see yourself doing? Police officer 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Welcome home!” You can reach Matthew at his social media handles of Twitter and Instagram: @ItsMrMGB. Previous Next

Back Goblin: Macbeth A Spontaneous Theatre creation Now on stage at Toronto's Tarragon Theatre, 30 Bridgman Avenue Jae Yang Joe Szekeres “Bizarre, macabre, and so damn good. This fantastical, wacky telling of ‘Macbeth’ will draw young people to the theatre. A Voice Choice as it’s a must see.” William Shakespeare’s shortest but one of his bloodiest plays of murder, witches, blood and revenge is now on stage at Toronto’s Tarragon Theatre. Three outlandishly adorable Goblins tell it. One carries their Good Book (The Complete Works of William Shakespeare). The Goblins want to know more about the playwright of ‘Macbeth,’ the story of a man who hungrily wants to become King of Scotland and will do anything to further his vaulting ambition. They tell their audience they will ‘attempt’ to make theatre and present this tragic tale, albeit with some intentional humour. A point of interest – the three Goblins are solid performers, and I’ll note some of their dramatic highlights shortly. These three adorable Goblins, Wug, Moog and Kragva, remain wickedly quick-witted and love verbal repartee with the audience pre-show and during the performance. They also have a thing for blood, which is strongly evident at one point. It’s a hilarious moment when that happens. Tarragon and Spontaneous Theatre Creation have aptly timed staging this ‘Macbeth.’ We’re approaching that time of year again of witches, ghosts and things that go bump in the night this Hallowe'en. ‘Goblin: Macbeth’ remains a bona fide Voice Choice to open Tarragon’s 2024 season. In the fall of 2023, I saw the production in Stratford and wanted to pay another visit. It was an entertaining evening of theatre then, yet it wasn’t a Voice Choice. This time, it is. Why? For one, Philip Edwards' Matrix-inspired costume designs are eye-catching and successfully pay homage to the film. Anton DeGroot's lighting design skillfully combines shadowy darkness with brightly lit focal points to set the appropriate mood. The projection on the back wall, depicting Birnam Wood, serves as a haunting reminder of the inevitable for Shakespeare's protagonist. Another reason for this Voice Choice? Wug, Moog, and Kragva devilishly shine in their performances. Once again, they’re adorable. They look horrific and terrific. I wanted to touch their pointy ears. Note: I didn’t. The three of them have tremendous fun throughout and that exuberance spills over into the audience. During the pre-show, they exit a car billowing with smoke and many theatre props that appear crammed inside. The three grandly enter Tarragon’s main stage theatre in a ‘grotesque, charismatic style’ that infectiously charmed me. While setting props and items in place, Wug, Moog, and Kragva adroitly practice that fantastic art of audience improv. That’s tough for any actor to do. It becomes an exercise in expertise watching them kibbitz with aplomb. And so much fun to watch. However, Wug, Moog, and Kragva continue not to be mere clowns. They remain entirely focused and aware of what’s coming next. As the pacing naturally flows from scene to scene, Wug, Moog and Kragva never allow their playfulness to derail from the story. Their task remains to heighten the tragedy. This is most evident in the banquet scene where the murdered Banquo’s ghost appears. Wug nicely layers and captures the emotional gamut of Macbeth’s highs and lows in his pursuit to become King of Scotland. His ‘Tomorrow and tomorrow’ speech cuts deep to the heart in his understanding of the devastating loss he thought he was to have experienced near the end. Kragva’s Lady Macbeth captures some genuinely comic moments as Macbeth’s wife, such as when she asks the spirits to unsex her as she reads her husband’s letter aloud. The pairing of comedy with the realization of what happens to Lady Macbeth at the end of the play makes for a moment of silence from the audience when the audience hears what has happened. Moog’s musical accompaniment effectively continues the right amount of humour and pathos to the plot. Final Thoughts: Last year in Stratford, the names of the artists directly involved with the production were in the programme. This year, in the unsigned director’s Tarragon programme note, future audiences are told to discourage themselves from seeking out the identity of the players, allow the Goblins to work their magic on them, and let the play hit them in new ways. That clinched the Voice Choice delineation this time. Let the work and the characters take me away to another space and time. This ‘Goblin: Macbeth’ worked its magic on me. Yes, it's bloody as hell at times. Yes, there are witches and murder and spirits. But that's the fun of the piece. I wish I could have taken high school students to experience this opportunity before I retired. High school teachers, are you listening? Running time: approximately one hour and forty minutes with no interval/intermission. ‘Goblin: Macbeth’ runs until November 3 on the Mainstage at Tarragon Theatre, 30 Bridgman Avenue, Toronto. For tickets: tarragontheatre.com or call the Box Office (416) 531-1827. TARRAGON THEATRE presents A SPONTANEOUS THEATRE CREATION GOBLIN: MACBETH Creative Team: Chris Oldfield, Dustyn Wales: Associate Producers Philip Edwards: Costume Designer Anton DeGroot: Lighting Designer Jaxun Maron: Assistant Lighting Designer Dustyn Wales: Stage Manager Composite Effects: Masks The Performers: Kragva, Moog, Wug The world premiere was produced in 2022 by The Shakespeare Company and Hit and Myth Productions in Calgary, Alberta. Previous Next

Back 'Romeo & Juliet' by William Shakespeare Presented by Unchained Theatre at the Assembly Theatre, Toronto. The production has now closed. Credit: Pola Rodriguez and courtesy of Jack Burrill Guest writer: Olivia (Eun-Jung) Jon "Shakespeare’s iconic lovers are given a fresh new vibe and Toronto takes centre stage in this reimagined tale." There are few who have not been exposed to this tragedy of star-crossed lovers (the expression itself comes from this play). Director, Jack Burrill, pulls double duty (Burrill is also on stage as Capulet). For the most part, this show moves with great energy and with wonderful urgency and the fight sequences are remarkable (Fight Choreographer Sheldon Williams is a name to watch). This young company with Morgan Bojie (Producer) and Reuben Stewart (Production Manager) carries real potential and some innovative staging created unforgettable moments. Case in point, the balcony scene, traditionally played on two levels, is ingeniously blocked and lit without losing a beat of the intimacy and the heightened romanticism. Congratulations to Annika Flores (the lighting technician) and Burrill for providing such a fantastic moment in that theatre space. Also, the masks by Teodoro and Esther Dragonieri added to the elegance and impact of Romeo and Juliet’s first meeting. As for the performances, the cast is up to the task and carry the show vibrantly. A highlight is Reuben Stewart as the Nurse and Escalus. Stewart imbues the characters with impeccable comedic timing and naturalism. The actors are at all times engaged and committed to their performances. That being said, there were a number of times that the text was rushed that it derailed the pacing and nuance and relationship was lost. A number of the monologues and dialogue between the lovers would be enhanced by allowing the text to settle and sit with the audience. I found there were some crucial moments in the story that would truly resonate if the actors gave themselves the time and space to simply breathe and speak. This would engage the audience far more effectively. There is added text, and though thought provoking and intelligent, set in moments where Shakespeare pundits would question its placement. This does not deter from the fact that it does add a layer of realism and brings the play into a local point of reference. Overall, I applaud Burrill and his team for taking the risk. Unfortunately, at the time of writing, “Romeo and Juliet” played its final show on August 24 but I encourage theatre audiences to look out for this talented and dedicated group. It was indeed worth the trip to the Assembly Theatre to see this classic yet reinvented love story. Assembly Theatre 1479 Queen St. W. Running time: 180 minutes. Director: Jack Burrill Production Manager: Reuben Stewart Producer: Morgan Bojie Cast: Alison Adams, Morgan Bojie, Brody Burrill, Jack Burrill, Alessandra Cavllini, Erick Hernandez, Rose Montano, James Ryan, Lenin Segovia, Cianna Stevens, Reuben Stewart, Sheldon Williams. Previous Next

Back ‘Room’ London Ontario’s Grand Theatre Dahlia Katz Joe Szekeres This ROOM bravely tackles traumatic issues with sensitivity and sincerity. Be aware this North American premiere of Emma Donoghue’s ‘Room’, which transfers to Toronto’s Mirvish Theatres in April, might trigger some individuals who have suffered psychological trauma. Placards found throughout the Grand Lobby and website guide those who may experience any significant reaction to call for assistance. With this warning, however, please, please don’t allow this to stop anyone from seeing such emotionally moving performances. Theatre lovers want to get back to experience these feelings. At least I know I do. On my bookshelf, I’ve got a copy of ‘Room’, and still, it sits there. I remember watching the film several years ago and wanting to read the book. Seeing this unique adaptation has now made me want to pull it from the shelf and start when I get home. Kidnapped as a teenage girl, Ma (Alexis Gordon) has been locked inside a purpose-built room in her captor’s garden for seven years. Her five-year-old son, Jack (played at this performance by Lucien Duncan-Reid) has no concept of the world outside what he calls ‘Room’ and happily exists being there with the help of Ma, her games, and his vivid imagination where Rug, TV, and Wardrobe are his only friends. Ma makes an intense decision for her and her son to escape and face their biggest challenge to date: to learn to exist and be outside Room. Entering the Spriet auditorium to take a good look at the stage was eerie, but it works soundly in this case. There was an unsettling buzzing and humming noise (it sounded like fluorescent ceiling lighting tubing). Lily Arnold’s set design effectively captured a claustrophobic visual look in the first act. The circular turning floor perfectly allows for excellent vantage points in Act One and functions extremely well with the prodigious turn of events in Act Two. Projection Designer Andrzej Goulding black silhouetted scrim with child drawings on stage right and stage left remind me what we are about to see comes from a child’s perspective. A large rectangular box visually looks down on the room where we can see the movement of the actors. Above the rectangular box is a drawing of what I thought was a child’s drawing of a window. We learn later it represents the skylight. When the story opens, that sickening claustrophobic tone of this purpose-built becomes intensely magnified. There is a toilet downstage left. A bathtub is located behind the toilet with the sink behind it. The wardrobe closet in which the young Jack sometimes sleeps or hides out is upstage far left. Downstage right is Ma’s bed (and sometimes Jack will climb in with her). A large rug is found down centre stage with the kitchen table just behind. There are cupboards behind and a bolted door with keypad up right serving as the entrance to the Room. Bonnie Beecher and John Gzowski’s Lighting and Sound Design fittingly and efficiently capture their respective tasks. Beecher’s stylized silhouettes continuously assist in building tension within the moment. Gzowski’s smart sound selections work extremely well, especially at pivotal dramatic highlights. A marvelous choice was made to incorporate music and song, so a huge credit of acknowledgment extended to Kathryn Joseph, Songwriter and Lyricist. I gleaned so much from listening to the lyrics and hearing the music surrounding the plot action on stage. Ms. Gordon’s vocal range soars in height in her song at the end of Act One and what has just occurred plot-wise made me gasp. It’s made clear in the program that ‘Room’ is not a musical by any means. The only slight quibble I did have was Gavin Whitworth’s music direction sometimes overpowered the singers and I couldn’t clearly hear some of the lyrics from where I sat in the balcony. I remember seeing the film ‘Room’ several years ago and was quite taken with the young Jacob Tremblay as Jack. In filmmaking, the action can be stopped for whatever reason. The same does not apply to live theatre so when I heard a stage production was in the works, I wondered what child actor could even attempt to maintain the stamina necessary for the role. And in an excellent decision creatively made, there is the young Jack and SuperJack, the elder, who can comment and deliver lengthy monologues. At this performance, an up-and-coming Lucien Duncan-Reid as Jack precociously took control of my heartstrings at key moments. As SuperJack, Brandon Michael Arrington suitably and bravely complements the youthful energy and physicality of the young Duncan-Reid in juxtaposition. In Act Two Arrington breaks the fourth wall twice momentarily and comes downstage to speak to the audience, and the visual effect is remarkable. The final tableau in Act Two with him, Duncan-Reid, and Alexis Gordon remains embedded in my mind even as I write this article the next day. Alexis Gordon is triumphant as Ma. Her range and display of emotional intensity remain consistently believable and naturalistic throughout. Never once did she venture over the top, not once, and all the while remaining in complete control of her being present in the moment. Wonderful. Supporting characters mirror optimally the highly charged fervency. Ashley Wright’s Old Nick is a greasy, sleazy slimeball. Tracey Ferencz and Stewart Arnott as Grandma and Grandpa poignantly reveal how their lives have also been terrifying changed on account of these horrific events of the last seven years. Shannon Taylor as the Interviewer and Popcorn Server strongly yet garishly shows the insensitivity of people who have never fully understood the devastating effects of trauma. Final Comments: Director Cora Bissett wrote in her Director’s Note of the Programme how she has returned to looking at the story through a whole new lens. She has changed as we all have over the last two years. Bissett writes about surviving through enormous uncertainty, holding onto the tiniest hope in the darkest of places, and finding strength in love even when one feels there is nothing left to give. Her enlightening vision for this ‘Room’ honourably does justice to Donoghue’s unforgettable story. ROOM is unforgettable. It is a stirring tale of the immeasurable resiliency of those who have suffered psychological trauma. See it. Running time: approximately two hours and 30 minutes with one intermission. ‘Room’ runs to March 19 at London, Ontario’s Grand Theatre to March 19 on the Spriet Stage, 471 Richmond Street. To purchase tickets, visit www.grandtheatre.com or call the Box Office (519) 672-8800. It then opens at Toronto’s Princess of Wales Theatre from April 5 – May 8, 2022. GRAND THEATRE, COVENT GARDEN PRODUCTIONS AND MIRVISH PRODUCTIONS present ‘Room’ by Emma Donoghue Adapted for the Stage by Emma Donoghue Songs by Cora Bissett and Kathryn Joseph Directed by Cora Bissett Associate Director: Megan Watson Movement Coach: Linda Garneau Set and Costume Designer: Lily Arnold Projection Designer: Andrzej Goulding Lighting Designer: Bonnie Beecher Sound Designer: John Gzowski Music Director: Gavin Whitworth Stage Manager: Suzanne McArthur Fight and Intimacy Director: Siobhan Richardson Actors: Stewart Arnott, Brandon Michael Arrington, Lucien Duncan-Reid, Isaac Chan, Tracey Ferencz, Alexis Gordon, Shannon Taylor, Ashely Wright Previous Next

Back 'Letters from Max: a ritual' by Sarah Ruhl Canadian premiere Produced by Necessary Angel Theatre Company now onstage at The Theatre Centre Dahlia Katz. L-R: Jesse LaVercombe and Maev Beaty Joe Szekeres A VOICE CHOICE for confronting death head-on and understanding it is not the end of the human spirit. “Sarah Ruhl’s script is an unquestionable celebration of life, love, and the soul. Beaty and LaVercombe radiate tremendous dignity in delivering credible and emotional performances.” Twenty-year-old Max Ritvo (Jesse LaVercombe) applies to be in playwright Sarah Ruhl's (Maev Beaty) undergraduate writing program. As the story progresses, the two characters exchange correspondence in various formats. What begins as a formal introduction from the polite young man gives way to a ceremonial development of respectful friendship and mentorship between professor and student, ultimately put to the test. Max reveals he had Ewing sarcoma cancer when he was in his teens. It has returned while he pursues his studies with Ruhl. Ruhl’s poetic script is akin to A. R. Gurney’s 1989 epistolary two-hander ‘Love Letters,’ where reading letters, cards, notes, and in-person encounters denote the passage of time. The same occurs in ‘Max,’ with a slight difference. Sarah narrates most of the story. Emails and text messages have now been added for a twenty-first-century audience. Both scripts have moments of laughter, poignancy, resiliency, and tears. Personal feelings aside, does ‘Letters from Max: a ritual’ work objectively as a piece of theatre? Yes, it does, and that’s why it’s a Voice Choice. It’s hard to separate the subjective from the objective this time. As both a cancer survivor and someone who lost a younger sibling to the disease, it’s a time in life that can never, ever, be forgotten or erased. A great deal of the impact of Max’s dialogue showcases that fact. There are profound moments when all that Sarah can do is either listen attentively to Max or simply just hold his hand and be there. Beaty and LaVercombe handle these quiet moments nobly, honorably, and decently. Michelle Tracey and Aurora Judge visually create an appropriate and functionally simple set design. Two tables at opposite ends of the stage contain a variety of props that will be used throughout the performance. Chairs and microphone stands are sometimes brought to the centre stage playing area with a fluidity of ease by Beaty and LaVercombe. Debashis Sinha’s Sound Design never overpowers but adds flavourful interest at a given moment. For example, Max asks Sarah to stand while he reads a poem to her aloud. We hear the muted sound of the clinking sounds of a coffee shop that eventually subsides as Max’s voice rises as he speaks. At the same time, Sarah slumps slightly because she feels she has become the centre of attention momentarily. It was a perfectly timed comic moment that made me laugh out loud. Tracey and Judge’s costume designs effectively reveal much about the characters. Max is described as mysteriously luminous. From where I sat in the house, LaVercombe appeared to be sporting green nail polish on his fingers and a green scarf around his neck. He also wears a white shirt and what appears to be a teal-green-looking shirt underneath earth-tone pants. Combined with Rebecca Picherack’s apt Lighting Design, there are moments when LaVercombe appears to radiate a life-giving, soul-affirming presence that becomes mysteriously inexplicable. For those who have lost loved ones to cancer and have been nearby when death is near, Picherack’s light makes perfect sense. There are bright life colours of green and yellow in Maev’s top underneath the earth-tone colour of her sweater. These colours and her navy-blue slacks offer an eye-catching juxtaposition to LaVercombe’s visual, metaphysical look. Alan Dilworth directs the Canadian premiere with absolute compassion and respect for the ritual and existential life-affirming subject material. Beaty and LaVercombe radiate tremendous dignity in their respective performances. Their onstage work cuts right to the muscle memory of that open wound disease that never wholly heals or goes away. It leaves an indelibly marked scar. Beaty and LaVercombe remain firmly committed and deeply rooted in each moment of the two hours plus running time. These are two actors who are at the top of their game. They give credence to each being alive and present in the moment. They listen intently to each other. They respond naturally and convincingly. Their dance, choreographed by Monica Dottor, duly reinforces once again the life-affirming presence in each of us. The two of them dance and move for the sheer enjoyment of the moment that can never be recaptured again. That’s the ritual. In a recent interview with Maev, she says the words of ‘Max’ are transformative – they’re medicine and holy. She’s correct on this account. The end of the First Act remains especially compelling when Beaty, as Sarah, writes a lengthy letter to Max. LaVercombe remains in slight shadows upstage but watches and listens as Beaty is at a microphone reading the letter she has written as Sarah. Her work remains sublime in both sight and sound. She pauses when necessary, emphasizing words and syllables while maintaining a stoic composure in uttering those three words each of us longs to hear from another person – “I love you.” I dare anyone not to be moved to tears. As LaVercombe gingerly creeps to the chaise lounge assisted by Maev in the second act, there is a heartbreaking moment that the end is near for the young man. When he finally sits, he exhales with contentment. When Max, in his fading, raspy voice, begins to read the poem aloud to a gathering, he can’t continue because he’s exhausted. He then asks Sarah to continue. Silence enveloped the auditorium on this opening night out of sheer believable respect for what was happening on stage. Again, I’m speechless and bereft of words as the emotional impact hits hard and deep. Final Comments: The concept of letter writing appears to be lost today in the twenty-first century's immediate satisfaction of “I want it, and I want it now.” A handwritten card, note, or letter means far more when it arrives in the post. A. R. Gurney’s 30+-year-old ‘Love Letters’ started me on the joy I experience when I receive a handwritten note, card, or even an email where I can sense the humanity of the sender. Thank you to the artistic team and actors for sending me ‘Letters from Max, a ritual’ and reminding me and everyone to notice that we are all alive. That is a beautiful gift. Running time: approximately two hours and 15 minutes with one intermission. ‘Letters from Max, a ritual’ runs to December 3 in the Franco Boni Theatre at The Theatre Centre, 1115 Queen Street West. For tickets, https://theatrecentre.org/tickets/?eid=106867 or call (416) 703-0406. To learn more about Necessary Angel Theatre Company, visit necessaryangel.com. NECESSARY ANGEL presents the Canadian premiere of ‘Letters from Max, a ritual’ by Sarah Ruhl Based on the book by Sarah Ruhl and Max Ritvo Directed by Alan Dilworth Set and Costume Designer: Michelle Tracey Set, Props and Costume Design Assistant: Aurora Judge Lighting Designer: Rebecca Picherack Sound Designer: Debashis Sinha Choreographer: Monica Dottor Stage Manager: Scarlett Larry Production Manager and Technical Director: Rick Banville Performers: Maev Beaty, Jesse LaVercombe Previous Next

Back Sandra Laronde Theatre Conversation in a Covid World Paula Wilson Joe Szekeres “I did training in Toronto, at the Banff Centre and with Native Theatre School as it was known in its time, and now it’s known as The Centre for Indigenous Theatre. That was transformational, really…it was really, really difficult, getting up at 5 am and really athletic and strenuous and exciting work. It opened up my eyes to so much.” So exclaimed the founding Executive and Artistic Director of Red Sky Performance, Sandra Laronde, as she opened our conversation with this description of where she had received some training as an artist. According to the press release: “Sandra is a highly accomplished arts leader, creator, and innovator who plays a pivotal role in the ongoing Indigenous cultural resurgence of Canada…She is the recipient of numerous awards for artistic excellence and leadership including the Celebration of Cultural Life Award from the Toronto Arts Foundation, Victor Martyn Staunch-Lynch Award for Outstanding Artist in Dance from Canada Council, Expressive Arts Award from the Smithsonian Institute, Paul D. Fleck Fellowship in the Arts (Banff Centre).” Highly impressive awards and recognition, indeed. This word ‘transformational’ has been a key element in many of the artists whom I’ve interviewed since the Coronavirus pandemic ground all our lives to a screeching halt. Many live performers have spoken about their own transformation in ‘pivoting’ at this time in their lives whether it be for personal or professional reasons, or a combination of the two. Laronde also acknowledged one of the triumphs she encountered with Red Sky during this time of Covid is the fact they were able to pivot very quickly. When that all happened, Red Sky came up with other ideas to make something happen very quickly “right out of the gate”. And they did that. Red Sky has been able to attract other audiences with their digital offerings in the interim. The company also started ‘Red Talk’ which they’re calling their ‘Wisdom Keeper Series’ during the pandemic because what Sandra noticed was people were hungry for wisdom, hungry for wise words and people with lived experience. This series involved their elders coming on to speak about what was the means to this time during the pandemic. This was the first offering and 5000 people showed up who listened. That’s a sizable part of the audience from the province, across the country and parts of the United States. New people were being reached in different ways, and for Red Sky this was an important factor to recognize. Yes this time of Covid, according to Laronde, has been one of new learnings personally but for her it has been “more of a re-learning, a re-boot, and a …re-fresh in experiencing just how beautiful the natural world is…and how we are all interconnected and have been awakened.” I couldn’t agree more with her as this profile series has opened wide a window for me in my transformation to learn more about the arts and culture of the BIPOC community, especially the Indigenous community for this profile. Further, I also learned the narrative of Indigenous story has been predominantly driven by the mainstream, and not driven by Indigenous people. According to Sandra, “It’s been driven through a white lens media. In a way that has not been at all complimentary to Indigenous peoples.” Sandra adds further: “The mainstream has created a false narrative, and that false narrative has to do with the taking of land, and the taking, and the taking, and the taking of resources, land and water, and there’s a political reason why there is a false narrative about Indigenous people that is tied to land, a colonial narrative, of course.” Laronde sees Red Sky as "one of the companies that needs to work on “this narrative change through truth telling, inspiring, empowering, and lifting and elevating and centering story so that story can have a real impact in all of our futures, not just Indigenous, but people. If Indigenous stories can be told by the Indigenous peoples, that can also help us connect up to the natural world. “This centering the Indigenous story in the consciousness of Canada, and in the narrative of Canada”, for Laronde, is extremely important because: “[The Indigenous peoples] have been treated very much like a distant cousin to the family of Canada, and we should be right at the centre of that family. We do not want to be treated like a distant cousin when we have so much to contribute, so much to offer. This narrative out there right now created by the mainstream holds a lot of unconscious and conscious biases, and that perspective needs to change. And it can only change once we author and tell our own stories.” Sandra strongly concluded that “once Indigenous put their stories at the centre, that is how change is going to happen, and the Indigenous can come through in the stories, and Indigenous truth can be advanced. If Indigenous origin stories are shared and told to children, we would have a very different relationship to nature as a result. If Indigenous origin stories were told of how they originated, where the origin is of Indigenous people, we would have a very different idea of our connection to Canada, to our land, to who Canadians really are.” For Laronde, part of who Canadians really are rests with Indigenous peoples. I was looking forward to our conversation because I’ve recently learned of the Canadian premiere of the film ‘More Than Dance, We Are A Movement’ will be shown online in celebration of the 20th anniversary of Toronto’s award-winning Indigenous innovators, Red Sky Performance presented by the national initiative Digidance and Toronto’s Harbourfront Centre. Another reason why I was looking forward to speaking with Sandra Laronde? I could finally ask a highly qualified arts leader how those of us in the audience watching, who may not have an extensive knowledge of understanding movement and dance, what specifically we should watch closely. There is something visually stunning and highly captivating how the performing artists use and weave their bodies corporeally to tell stories, but I could just sense there has to be something more. And I am grateful Sandra Laronde was available for a worthwhile conversation that opened my eyes to an awareness of the beauty and sound of the Indigenous people and culture. She was quick to acknowledge there is a lot to look at in any dance piece and ‘More Than Dance, We Are A Movement’ is no exception as there is a lot of athleticism involved. Laronde spoke of the fact there is something potent about movement, image and music together in one very powerful creation with no need for language to understand. For Red Sky performances and the upcoming ‘More Than Dance, We Are A Movement’ presentation, Laronde proudly states she is concerned far more about the audience and its experience in what they are doing in seeing the story land. Along with the dance, there is the expression transmitted through the human body in these beautiful ways. Lighting and original live music played in ‘More Than Dance’ mesh and gel to tell an Indigenous story. Both Sandra and I agreed that there is nothing like live performance and we both concurred that we do miss it because they are transformational. She is also quick to point out that digital is the way of the future too. Yes, nothing can replace a live performance where an intimate connection binds an audience to the artists. That being said, Laronde quickly adds that the digital screen offers elements that an audience often doesn’t get in live performance. For example, if there is a real close up shot, we can see the performer in a completely different way that a live audience may not capture at that particular moment. In this respect, film allows moments of transformation for the audience to see where they are supposed to be looking at certain moments. Image also plays a prominent feature in ‘More Than Dance’ as well. The image portrayed on the scrim/screen of the stage and some of that is interactive as it might trace the bodies of the dancers and you can see it being traced as they move along. There are also some beautiful, animated images somewhat (not necessarily animated) with motion graphics and projection mapping, but the dance, Laronde re-iterates, is the focus of the film. Sandra wants audiences to know that another important feature in Indigenous art forms is there is no tendency to silo so much, meaning the performance isn’t divided into dance over there and music over here. All of these art form disciplines are brought together and combined with cultural meaning in a story that is relevant and, hopefully, one the audiences are able to respond. As we concluded our conversation, I wanted to ask Sandra about the term ‘meaningful change’ which I saw mentioned quite a bit in the press release I had received. When I asked her how meaningful change can be applied to Red Sky in a post pandemic world, Sandra agreed that it was a good question, but a big question to ask, as the company looks towards its future when we can all gather together once again. In terms of artists through the unique creative process of working with Red Sky, Sandra recognized there is great learning in and of itself. Red Sky creates a work together but the way it creates shows might be a little bit more unusual. Red Sky is interested in accelerating the leadership capacity of Indigenous arts and culture in cultivating good people who are going to do things in society through learning and through seeking. Sandra states she is interested in people’s minds and hearts being transformed in celebrating Indigenous arts and culture since it is still relatively new in Canada. It hasn’t been that long since it has been on Canadian mainstages. I am really looking forward to the premiere of ‘More Than Dance, We Are A Movement’ which will stream April 14-20 in Canada. To purchase tickets, visit www.harbourfrontcentre.com . To learn more about Red Sky Performance, including their touring performances for children and youth and digital performances, visit the group’s website: www.redskyperformance.com Facebook: Red Sky Performance Twitter: @Redskyconnect Instagram: @redskyconnect Previous Next

Back 3 FINGERS BACK: 'Give It Up' and 'The Smell of Horses' by Donna-Michelle St. Bernard Now onstage at Tarragon Theatre's Extraspace. A co-presentation by Tarragon Theatre and lemonTreecreations Credit: Jae Yang. L-R: Megan Legesse and Uche Ama Joe Szekeres “Cleverly written. Boldly performed with unabashed emotions Surprising plot twists kept me focused right to the startling conclusion.’ Playwright Donna-Michelle St. Bernard has taken on the formidable artistic task of writing a play inspired by (but not necessarily set in) the 54 African countries. She calls this collection: 54ology. Two from this canon: ‘Give It Up’ and ‘The Smell of Horses’, recently opened at Tarragon Theatre’s Extraspace. These two one-act world premiere plays are thematically linked about captors and captives inspired by Angola and Guinea-Conakry. Those who bear witness to the resulting atrocities are also given prominence. The plots are heady stuff to take in and not always pleasant to watch or to hear. There were moments when the audience laughed where I didn’t find the humour and I was a tad unsettled why some did. Nevertheless, I’ve always respected Tarragon and LemonTree’s slates. They are not afraid to confront contemporary social issues head-on. We have entered the military coup of war overseas. Often, it’s not a pretty sight to behold how people treat others. Thankfully, any horrific violence mentioned occurs off-stage. Surprising plot twists kept me riveted to the staggering conclusion at the end of the production. Yol (Uche Ama) and Ada (Megan Legesse) are imprisoned captives in ‘Give It Up.’ They strategize to survive the horrific interrogation brought on by their unseen captor. The solider Saad (Tsholo Khalema) appears periodically at the cell door and drags Yol away to assault her offstage. Ada is left in the cell sometimes listening to the horrible sounds. What is the cost of freedom these two women will have to pay? After the interval/intermission, we again meet Saad (Khalema) in “The Smell of Horses’. Only this time, he has become a captive in the hierarchical military order of the base. His superior is Beech (Indrit Kasapi), a strapping weasel of a man who sometimes bullies Saad. Christopher Bautista plays Adam (stress on the second syllable and short ‘a’ sound), Saad and Beech’s brute of a superior Officer. There are moments when Adam plays head games with Beech. Other times, Adam gives Beech some horrible chores, who then gives the task to Saad (latrine cleaning is one). César El Hayeck’s set design amply fills the stage and draws immediate attention. Far stage left is the solitary, lone cell where the action of ‘Give It Up’ takes place. Sliding doors open to reveal the cramped quarters. Stage right, on secure risers, is a military office where ‘The Smell of Horses’ takes place. Many military prop items are found on the walls. Two rotating elongated wooden platforms in the center of the room create fascinating staged moments. Periodically, Beech slams the platform to create a startling sound effect. Next to the office becomes the imaginary bunkbed where Saad and Beech sleep. Along with Janice Jo Lee’s solid sound design and composition, Michelle Ramsay’s shadowy lighting design in the office and the jail cell becomes a stark reminder of the horrors of war. Des’ree Gray’s costume designs effectively enhance who each of these characters is. The soldiers’ costumes drew my attention immediately to them on their first entrance. The costumes on Ama and Legesse are torn and filthy to show they have been horrible victims of war and their circumstances. Co-directors Yvette Nolan and Cole Alvis do not shy away from the atrocities of war in St. Bernard’s astute script. Nolan and Alvis confront it head on. For example, there is a moment involving Indrit Kasapi in the second act, which is handled maturely while at the same time horrifying when it becomes apparent what is happening. Nolan and Alvis should feel no need to apologize for presenting such a realistic element of war. That makes ‘3 Fingers Back’ compelling: the desire to understand what’s occurring even when plot information comes at us quickly, and it’s easy to get lost. Performances remain intense and robust thanks to Nolan and Alvis’ insightful and intelligent direction. What remains paramount is the binary juxtaposition of seeing how war affects and brings two stories together into one world. I’m trying not to give away any plot twists; however, when a major one was revealed near the end, I heard some silent gasps from people behind me in recognition. I’ll be honest and say I did as well. Uche Ama and Megan Legesse keenly capture the agony and fear of prisoner captives in ‘Give It Up.’ They intently listen and genuinely respond with subdued, raw emotions. The look of dread in Ama’s eyes when Khalema’s Saad drags her off remains palpable. Legesse naturally responds as Ada to the deafening silence of the cell when alone. That same look of dread and fright in her eyes, wondering if she would be next, continuously hovers in the air. The conclusion of ‘Give It Up’ reminds us of the tenacity of the human spirit; however, as stated in the playwright’s programme note, the play is rife with deceptive binaries, here/there only being one. That reality is clear at the end of ‘The Smell of Horses.’ What also remains strong is the deceptive binary of friend and foe in both plays. The periodic appearance of Saad in ‘Give It Up’ remains a puzzlement. Can these women become fast friends logically in a world they know where Saad could obliterate them on account of their beliefs? I can’t even imagine the horror Yol endures at Saad’s hands. However, in the end, he does something extraordinary and surprising for Ada, making my heart leap and wonder if this is true. But I was still puzzled. When ‘The Smell of Horses’ concludes, it all makes sense. I don’t want to spoil any surprises for future audiences, so the only thing I will say is to pay close attention to the plot action in both stories, especially how Saad is connected in both. Christopher Bautista becomes a towering, forceful presence. His Adam is merciless. Like Bautista, Indrit Kasapi delivers a grounded performance as Beech. His muscular physique makes him perhaps one to be suspicious of at first. Still, as the plot of ‘Horses’ continues, that initial wariness of Beech becomes one more of compassion when his back story circumstances are revealed. Tsholo Khalema is one of the reasons to see ‘3 Fingers Back’. His performance remains intensely credible as an individual. His Saad may initially seem like a monster; he most certainly is for what he does to Ada in ‘Give It Up.’ I’m not excusing his behaviour. When we learn about Saad’s backstory in ‘The Smell of Horses,’ there is a possible and plausible reason why Saad has behaved as he does. And Another Thought: Occasionally, I might experience trepidation about world premieres. Yes, reading pre-show articles is beneficial; however, will they set a base for what will play out in front, as that is what counts? With this serious topic of war, I found helpful some of the background information Tarragon provides, which gives context to the production. It would be a good idea to preview it first before attending. Running time: approximately two hours and thirty minutes with one intermission. ‘3 Fingers Back’ runs until March 24 at Tarragon Theatre in the Extraspace, 30 Bridgman Avenue, Toronto. For tickets: visit tarragontheatre.com or call the Box Office (416) 531-1827. 3 FINGERS BACK BY Donna-Michelle St. Bernard A Tarragon Theatre & lemonTree creations co-production Cole Alvis and Yvette Nolan - Co-Directors Aria Evans - Associate Director César El Hayeck - Set Designer Des’ree Gray - Costume Designer Michelle Ramsay - Lighting Designer Janice Jo Lee - Composer & Sound Designer Katie Fitz-Gerald - Stage Manager Kayleigh Mundy - Apprentice Stage Manager Performers: Uche Ama, Christopher Bautista, Indrit Kasapi, Tsholo Khalema, Megan Legesse Previous Next

Back Canadian Stage presents MIIGIS: UNDERWATER PANTHER At the Marilyn & Charles Baillie Theatre, 26 Berkeley Street, Toronto John Lauener for Red Sky Performance Joe Szekeres Please note: I have no educational background or training in the art of dance and movement. I will comment on the theatricality of ‘Miigis: Underwater Panther’. Although I might not have understood every moment presented during Red Sky’s electrifying ‘Miigis: Underwater Panther’, I am still in awe of the pride and the celebration of the artists and their total commitment to sharing an important cultural piece of Canada. According to Canadian Stage’s website, there is a Red Talk following tonight’s (January 25th) performance about THE GREAT MIGRATION AND THE 7 PROPHECIES with an Anishinaabe cultural keeper I know the weather is nasty outside as I write this article now. Nevertheless, if you are heading to see the show tonight. I would also strongly recommend people attend the talk after the performance. I wish my guest and I had the opportunity to do so. This is not to say to the contrary that ‘Miigis: Underwater Panther’ needs an explanation. Far from it as there is so much to admire and appreciate about this extraordinarily beautiful cultural piece from Director and Choreographer Sandra Laronde’s extraordinary love and care for the story to Composer Rick Sacks’ and Sound Designers Julian Cote, Pura Fe, Marie Gaudet, Marc Merilainen and Pierre Mongeon’s task in creating a kaleidoscope of varying sounds of music and song harmoniously balanced and pleasing to the ear. The musicians sit on stage right of the story action. 'Miigis: Underwater Panther’ draws its inspiration from a prophecy in which the Anishinaabe must move westward or perish. The story is about the great migration of the Anishinaabe people from the Atlantic Ocean to the Great Lakes, from salt to freshwater, the rise of matriarchy and the ancestral pull towards the next seven generations. At this opening night performance, Lesley Hampton’s costume designs to Matt Eckensweiler’s awesome lighting design caught my eyes many times in admiration. Laronde’s exquisite choreography remains breathtaking on all accounts from the majestic athleticism of the dancers to the intimate personal synergy expressed sometimes between the grabbing of hands as the dancers pull themselves forward. Febby Tan’s projected video designs almost appeared 3D to my eyes. There were moments when I actually felt as if I was in the water with the dancers. I will mention the performers’ names at the end of the article. Their complete dedication to telling the story with grace and dignity in their movements was wonderful. My journey however in wanting to learn more about our First Nations people and their culture is at a different point from others, and my guest and I so wished we had someone following the performance to help further our understanding of what we had just witnessed. For the remaining performances, will future audiences have that opportunity to dialogue and share what they have just seen? Running Time: 60 minutes with no intermission. ‘Miigis: Underwater Panther’ runs to January 29 at the Marilyn & Charles Baillie Theatre, 26 Berkeley Street, Toronto. For tickets visit canadianstage.com or call the Box Office at (416) 368-3110. CANADIAN STAGE PRESENTS MIIGIS: UNDERWATER PANTHER Director & Choreographer: Sandra Laronde Composer & Sound Designers: Rick Sacks with Julian Cote, Pura Fe, Marie Gaudet, Marc Merilainen, Pierre Mongeon Set Designer: Julia Tribe Costume Designer: Lesley Hampton Lighting Designer: Matt Eckensweiler Motion Graphics, Animation & Video Designer: Febby Tan Hair and Make Up: Alice Norton Stage Manager: Pip Bradford Musicians: Ora Barlow-Tukaki (Vocalist and Musician), Marie Gaudet (Musician), Rick Sacks, (Musician), Ian De Souza (Musician) The Cast; Daniela Carmona, Kristin DeAmorim, Eddie Elliott, Moira Human-Blaise, Jason Martin, Mio Sakamoto Previous Next

Back 1939 by Jani Lauzon and Kaitlyn Riordan TORONTO PREMIERE Now on stage until October 12 at Canadian Stage's Berkeley Street Theatre, 26 Berkeley Street, Toronto. Dahlia Katz Joe Szekeres “1939 remains a genuine ensemble actor piece. Jani Lauzon directs again with a quietly subdued but firm resilience to build on the journey of reconciliation. The company becomes team players (both on and offstage) who feed the spirit of the play.” It is vital to revisit stories that have a lasting influence on Canadians. Co-playwrights Jani Lauzon and Kaitlyn Riordan’s ‘1939’ is one such tale. Its impact on the atrocities experienced by many who experienced, survived, and did not survive the Residential school crisis continues to be felt moving forward. Initially produced for its world premiere at the Stratford Festival in 2022, this Toronto premiere is a joint production by Canadian Stage and Belfry Theatre in association with the Festival. Seeing ‘1939’ back then raised questions that came to the forefront when I saw the Canadian Stage opening night. It’s good when the power of theatre provokes questions and stimulates the audience's intellect, especially when revisiting a time that continues to affect Canadians. One may not always have answers or may view things differently, but this is all part of the power and range of live theatre. Jani Lauzon directs the Toronto production again with a quietly subdued but firm resilience that feeds the play's spirit. None of the school atrocities is played out on stage. Lauzon and Riordan’s script effectively reminds those issues are there, especially in some of the ‘comments’ made by Welsh school-teacher Sian Ap Dafydd (Catherine Fitch) and Father Callum Williams (Nathan Howe). You’ll notice the apostrophes around the word ‘comments.’ Future audiences must hear them uttered to understand the implications of the words. We are at an Anglican church-run fictional Residential school in Northern Ontario in 1939. Madge Macbeth (Amanda Lisman) arrives to let the administration know it has been selected for an upcoming visit by King George VI and Queen Elizabeth (the Queen Mother in later years). Father Callum Williams will be the school liaison for the upcoming royal visit. Although he is only enthusiastic about hockey, it has been agreed that the royal couple will be entertained with a student performance of Shakespeare’s ‘All’s Well That Ends Well’ to be directed by Dafydd. I shuddered again as Dafydd does everything she can to impose an outdated and unfamiliar style of learning to become ‘good little Canadians’ on her Indigenous students. She even uses a recording of English actress Ellen Terry to demonstrate how to ‘speak properly’ with big round vowel sounds. As students Susan Blackbird (Brefny Caribou), Evelyne Rice (Merewyn Comeau), Joseph Summers (Richard Comeau), Beth Summers (Grace Lamarche) and Jean Delorme (John Wamsley) rehearse and prepare initially quite comical, they begin to note just how similar the situations of the characters in Shakespeare’s play parallel their own lives. When they see this connection, they want to make the play their own instead of trying to be something they are not. Some top-notch production elements remain intact in this Toronto staging and produce some striking visual moments. Designer Joanna Yu incorporates her Festival set on the Berkeley Theatre stage, and it was lovely to see it continue here. Three slate chalkboards are angled for maximum sightline viewing. The students will write words, thoughts, or one-line sentences while the adults enter later and erase what has been written. Makes quite an impactful visual statement. Near the end of the play, I held my breath again as Nathan Howe’s Father Williams tries to erase the petroglyphs but couldn’t. Visually sound and imposing, it certainly leaves an indelible mark. I can still picture Howe the next day as I write this article. Designer Louise Guinand returns from the Stratford production with her smartly focused and subdued lighting. Wayne Kelso continues his terrific Stratford sound design, as does Asa Benally’s appropriate costume selection of the era. The script's humour helps to soften some of the difficult reminders of the tragic era of Canadian history related to Residential schools. Father Williams' nervousness about speaking in front of his superiors (the bishop and the royal family) leads to comedic relief due to his intestinal issues and escaping flatulence, which brings much-needed laughter. Additionally, the students' reactions to the rehearsal process continue to bring smiles, and it was heartening to hear laughter all around me. During the talkback circle following the opening night performance, Lauzon spoke about how she looks for actors who are team players who will feed the spirit of the play. ‘1939’ remains a genuine ensemble actor piece. This eight-member cast wholly represents a committed team of artists who feed the spirit of this play by telling the story with humanity, grace and dignity. As the Christian adult role models, Nathan Howe and Catherine Fitch beautifully capture the insecurities of Father Williams and Sian Ap Dafydd in preparing the Bard’s play for the royal couple's arrival. John Wamsley returns from the Stratford production to play half-breed Jean Delorme. Wamsley’s reading of a letter aloud from his mother tugs at the heartstrings. Brefny Caribou’s Susan Blackbird frighteningly continues to be that one grim reminder of the violence inflicted on some of the students. The horrible gash on Caribou’s back looks painfully raw, yet her Caribou’s Susan is strong-willed. Merewyn Comeau’s Evelyne Rice also continues that resiliency in the face of punishment that she will not allow the “Indian to be killed in her.” Grace Lamarche and Richard Comeau (returning from the Stratford production in this role) excellently capture the hesitancy and fear that brother and sister would have personally felt since they are not allowed to be placed together. Final Thoughts: In her Director’s Programme Note, Jani Lauzon writes how her appreciation of Canadian Stage and Belfry Theatre reminds her of why doing work like ‘1939’ is essential. Both companies recognize the importance of this story as it becomes a glimpse inside a system intent on breaking the spirits of Indigenous children. During a struggling and trying rehearsal of ‘All’s Well That Ends Well,’ Sian Ap Dafydd tries to compose herself and says: “I am not dramatic. I am sensitive.” These lines might be seen as poking fun against theatre actors who are often seen as sensitive in the real world. There’s more in the understanding of these two lines. I’ll flip them around. “I am sensitive because I am not dramatic.” Lauzon calls the play an offering instead to continue our sensitivity to listen and to hear what occurred as part of reconciliation. Following each performance, a circle will be formed where audience members can stay to hear, listen, and speak about what they have just seen on stage. I’d advise you to stay and listen to what’s said. I learned more again. I have so much more to learn. Running time: approximately one hour and 40 minutes with one interval/intermission. ‘1939’ runs until October 12 at Canadian Stage’s Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets: (416) 368-3110 or visit canadianstage.com. CANADIAN STAGE and BELFRY THEATRE’s joint production in association with THE STRATFORD FESTIVAL present: 1939 by Jani Lauzon and Kaitlyn Riordan Directed by Jani Lauzon Set Designer: Joanna Yu Costume Designer: Asa Benally Lighting Designer: Louise Guinand Sound Design and Composition: Wayne Kelso Performers: Brefny Caribou, Merewyn Comeau, Richard Comeau, Catherine Fitch, Nathan Howe, Grace Lamarche, Amanda Lisman, John Wamsley. Previous Next

Back The Rez Sisters The Stratford Festival David Hou David Rabjohn Congratulations to The Stratford Festival for insightful creativity in developing live theatre for a covid world. A soaring brilliant white tent was only a part of the unique outdoor experience that subtlety embraced social restrictions. The Festival could have found simple vehicles that would easily adapt to required new measures. They went the other way. With courage and boldness the festival produced Tomson Highway’s 1986 searing story of ‘The Rez Sisters’, a complex and weighty play concerning the lives of seven sisters on a Manitoulin reserve. Highway’s already distinguished writing is further elevated by an ensemble cast of diverse talent, energy and unremitting power. We first meet Nanabush who stumbles on stage, unkempt and ill, crawling under a tarpaulin and sits, eyes furtive and suspicious with birdlike movement, skillfully played by Zach Running Coyote. Going through wild throes as a sickly patient, he sets the stage for tragedy and suspicion throughout the story. Nanabush develops into a kind of muse or indigenous Greek chorus symbolically reflecting many of the more horrific moments of the sisters’ lives. Running Coyote’s brilliant physicality offers the choreography that punctuates the many struggles on the reserve. Pelajia is the first of the slow train of sisters on stage – some actual sisters, others half sisters or sisters-in-law reflecting the close-knit community. Played with crackling energy by Jani Lauzon, she is a contractor equally comfortable with both hammer and knitting needles. Like many of the sisters, she hates the reserve and longs for a better life, perhaps in Toronto. Her sister, Philomena (Tracey Nepinak) can be both dark and brooding (she longs to know anything about the child she gave up) and equally hilarious as she also longs for the gleaming porcelain toilet bowl that is her holy grail. Annie Cook, played joyfully by Nicole Joy-Fraser enters frantically and is teased for non-stop energy as she yearns for a singing career. The complexities of relationships start to form as we meet Marie-Adele, perhaps the most tragic figure, played by Lisa Comarty, who has fourteen children and is clearly dying of cancer. She stole her sister Annie’s boyfriend and the wounds are still raw. Scenes begin to break down into raucous battles as various tensions are exposed and fight director Anita Nittoly’s remarkable choreography mirrors the many conflicts. The cacophony of anger rises, while lights flash until it is halted by Zhabooningan. Played subtlety and sympathetically by Brefny Cariboo, Zha is intellectually disabled and has been horribly raped by two white men. She is embraced by her sisters and is adopted by the unpopular Veronique (Christine Frederick) who portrays her dark character with both meaness and hope for more understanding. Bingo becomes the epicentre of dreams, hopes, and delusion. Never far from their minds, bingo is not a social occasion. It is the vehicle for moving forward in big or small ways – that shining toilet, a huge new stove, or an entire island of life. Learning of “the biggest bingo in the world” the sisters put their conflicts aside and plan a masterful odyssey to Toronto. A leitmotif of marching, they make their way to Toronto, experiencing obstacles and pain reminiscent of their reservation lives. The bingo day climax ends with an audience participation surprise, the hollowness of smashed dreams and ultimate death. The circle returns to Manitoulin. Some part of this tragedy slightly softens anger and hate. Sophie Tang’s set design offered a thrust stage with multiple surprises. Each of the many chairs was unique – sometimes representing the fourteen children, other times cleverly manifesting a symbolic prison. The translucent tarp diversly served as hospital bedding, a babe in arms, or a funereal shroud. Wayne Kelso’s sound design was delicate and haunting – rash only when it had to be. Director Jessica Carmichael wielded a heroic baton. She found a delicate balance between letting her dynamic ensemble spin and create at will and finding a focus that roots the story. Ms. Carmichael’s own recent pain gives authority and intimacy to this production. Using all the tools offered by Tomson Highway – Cree or Ojibway language and indigenous dance – she made us understand the circles of living. As mentioned in the program, this production properly gives a nod to recent tragic discoveries and young people who now yearn for a better future as the sisters do. Some circles should remain and some circles should be broken. Upon discovering Emily’s pregnancy, Zha creates slivers of mirth as she sneaks up on her friend and says hello to the little unknown. What an honest way to peer into this world – with both unrelenting sadness and with mirthful silliness. ‘The Rez Sisters’ by Tomson Highway Produced by The Stratford Festival Players – Brefny Caribou, Lisa Cromarty, Nicole Joy-Fraser, Irene Poole, Jani Lauzon, Kathleen MacLean, Tracey Nepinak, Zach Running Coyote Director – Jessica Carmichael Sound Director – Wayne Kelso Set and lighting design – Sophie Tang Fight director – Anita Nittoly Stage manager – Bona Duncan Tickets at stratfordfestival.ca Previous Next

Back ‘Gloria’ An ARC Production in Association with Toronto’s Crow’s Theatre Jeremy Mimnagh Joe Szekeres Magnificent. A must see For actor Andre Sills’ directorial debut, he searched for a play that would inspire him, would challenge him, and would drive him as if he was in the production himself. He wanted to get back to telling the truth in stories, and not harbour any fear in showing the world as it really and truly is to others. He certainly made an extremely wise choice in the selection of Brandon Jacobs-Jenkins’ satirical ‘Gloria’ to achieve his goal. In a conversation I held with the engaging actor a few weeks ago, Sills commented that it is the writing, the echoes, the wit, and the questions that drew him to the play. For me, ‘Gloria’ became all this and even more. It was an ‘edge of my seat’ remarkably exciting ensemble ‘dark comedy’ of office politics and behaviour performed by exceptional actors who kept me riveted for the two hours. I usually bring a book in which to write notes during the performance, but I closed it and put the pen away as I did not want my attention diverted from this extraordinary production where I heard myself gasp at least twice because I wasn’t expecting what occurred in front of me. We are in a Manhattan magazine office of ‘Culture Now’. At least that’s what I was led to believe as there are posters and artwork on the walls of the playing space with this title. We are then introduced to the denizens of this office who, by all accounts superficially, are far from professional at least from my understanding of working thirty-three years in the field of Catholic education. These office workers in ‘Gloria’ are very unhappy people who dream of something else for themselves, and whether they are successful becomes part of the unfolding plot. The previous night before there was a party held at the home of the office weirdo Gloria (Deborah Drakeford) who appears sporadically throughout the first act and is acting rather strangely in front of everyone before she disappears. Ms. Drakeford also plays office manager Nan. Most in the office either forgot or did not attend the party except Dean (Nabil Traboulsi), Nan’s assistant, who stumbles in hungover from the night before at Gloria’s place. We are also introduced to the office intern, Miles (Savion Roach) who is finishing his last day. During his internship as part of his degree program, Miles has become the ‘Joe job gopher’ for everyone else. The selfish and ungrateful worker who spends more time away from her desk Kendra (Athena Kaitlin Trinh) at times becomes that one person in the office whom everyone despises and wonders why she hasn’t been turfed out. From her vantage point, receptionist Ani (Jonelle Gunderson) has the perfect vantage view of everything. Just slightly down the hall we also meet the harried fact check checker for the magazine Lorin (Carlos González-Vio) who comes rushing on when the noise level gets extremely loud, and he can’t concentrate because he is checking the facts for all the articles. Jackie Chau’s open set design sharply incorporated various angles, three walls and designs to open the playing space. The single desks nicely worked as cubicles. The overhanging fluorescent tubing lights which hum, fade, and burn out periodically become a select example of pathetic fallacy. (Hopefully you’ll remember your high school English lesson terminology). Christopher Stanton’s sound design and composition remain clearly sharp especially his composition of ‘Glitter Witch’. Jonelle Sills’ solo soprano vocals near the end of the production hauntingly remained with me as I exited the auditorium. Chris Malkowski’s lighting design cleanly highlights the action of the stage. At one moment, I was so taken with the shadowed lighting on Savion Roach as he cleans both the windows and the countertop all in stylized slow motion while never upstaging the conversation between Drakeford and Gunderson. Sills’ vision for the play as director becomes sharply delineated. He holds a mirror up to all of us in the audience and wants to see how humans really do behave and makes us question why we behave in the manner we do, sometimes wittingly, sometimes humorously, and sometimes ghastly. This highly acclaimed ensemble of actors reached the bar Sills set high for this production and told the story unabashedly without any fear whatsoever. To experience its truth, its pathos, its wit, its bravado, its bravery, and its clarity in enlightenment, I strongly encourage you to see this ‘Gloria’ and experience it firsthand yourselves personally. Final Comments: ‘Enthralling and gripping, this ‘Gloria’ with its passionate and provoking storyline is one that needs to be discussed after the curtain comes down. Magnificent.” Running time: approximately 2 hours with one intermission Production runs to March 20 in the Guloien Theatre, at Crows, 345 Carlaw Avenue, Toronto. For tickets call the Box Office (647) 341-7398 or visit www.crowstheatre.com . Performers: Deborah Drakeford, Carolos González-Vio, Jonelle Gunderson, Savion Roach, Nabil Traboulsi, Athena Kaitlin Trinh GLORIA by Branden Jacobs-Jenkins An Arc Production in Association with Crow’s Theatre Director: Andre Sills Assistant Director and Stage Manager: Tamara Vuckovic Producer: Paolo Santalucia Associate Producer: Rob Kempson Production Manager & Technical Director: Holly Hilts Set and Costume Designer: Jackie Chau Lighting Designer: Chris Malkowski Sound Designer and Composer: Christopher Stanton Fight Director: Daniel Levinson Previous Next

Back 'The Red Priest' (Eight Ways to Say Goodbye) Guild Festival Theatre at the Guild Park, Scarborough Raph Nogal Joe Szekeres A smartly directed production of two distinctly unique individuals from different social standings who movingly connect through music, art, and words. A wonderful musical treat at the end finely provides the proverbial nightcap. Enchanting to watch on a gorgeous opening night summer evening. Fun fact I did not know. I had to look up the meaning of ‘the red priest’ and its connection to the Italian composer Antonio Vivaldi. He had a crop of red hair inherited from his father. Ah, the things we can still learn in retirement. Mieko Ouchi’s ‘The Red Priest’ (Eight Ways To Say Goodbye) is the story of a fictional relationship between Vivaldi (David Whiteley) and the wife of one of the most powerful noblemen of the French court simply known as The Woman (Sierra Haynes). Her husband has wagered the King of France that Vivaldi can teach the countess to play the violin in six weeks at which time she will then play for the French court. This boorish behaviour by the Woman’s husband to treat her in such a cavalier manner remained unseemly to me, but it’s also the era when everyone had secret lovers while married, and no one batted an eye at this reprehensible behaviour either. Period piece settings always fascinate me and I’m curious to see how a theatre company uses and dresses the space appropriately. I’ll acknowledge Production Designer Wasifa Noshin’s astute work here in creating simple but elegant touches that allowed me to fill in my mind the grandiosity of the French drawing rooms in this outdoor Greek theatre setting. A nice touch was the lighting of the flames over the portcullis entrance centre stage. They didn’t stay lit for too long for the beautiful summer breeze, but no quibble there for me. Costume designs are splendid re-creations of the period. Helen Juvonen’s clear-sighted direction made me care about these two individuals from their appropriately different social strata. What fascinated me about Mieko Ouchi’s script is listening to the highly detailed monologues Whiteley and Haynes deliver to the audience as we see the world from their points of view. It does take time to warm up to Vivaldi and the Woman, and that’s a good thing. David Whiteley becomes a fastidious Antonio Vivaldi who recognizes, at times, an improbable task he has at hand to teach the haughty unfocused countess who initially wants events to unfold the way she desires them. While maintaining that air of superiority of social class structure in Vivaldi’s presence, Sierra Haynes makes an interesting choice in developing the Woman’s character. Haynes affirms a ‘street smart’ sense about the Woman in some of her monologues to us while maintaining her proper place within the French court. She knows she is played by her husband over this wager with the King. To maintain her dignity about learning to play the violin in an unheard-of time allotment over which she ultimately has no control, the Woman does what she can do to maintain control. She goes toe to toe with a man who will either make her look foolish in front of others or make her the envy of others through her musical talents. I don’t believe it’s spoiling the plot to say the latter wins out. One moment that spoke volumes to me was the silent look Vivaldi and the Woman gave to each other during a shared dance. It was that compassionate and caring moment between two individuals who get what the other person is all about. It’s that moment where two individuals allow each other to look into their eyes and their souls of who they are despite the call of fame, fortune or societal duty, as Juvonen stated in her Director’s Note of the programme. Those moments where actors just inherently connect with each other make live performance the extraordinary craft it is. Both Whiteley and Haynes are extraordinary musicians as well, and what a bonus it is they play the violin and fiddle. I put my book down at the end where I was making notes and just listened and watched these gifted artists share their talents with us. What a wonderful way to cap off the evening. Where I do feel bad for the company and through no fault of their own is the noise spilling out from the nearby clubhouse on the grounds. On this opening night, a wedding celebration was in full swing with loud tunes blaring for what seemed an eternity. I can’t even begin to imagine the frustration Sound Designer Sean Meldrum experienced as he did his utmost to adjust the levels of the underscoring Vivaldi music when Whiteley and Haynes began speaking. The noise level did abate about fifteen minutes into the performance, but c’mon. It has been an empty two years without live theatre and GFT gives us a welcome back gift of a wonderful show and experience we’ve been sorely missing. Can something be done in future to ensure it’s a win/win situation for all? Final Comments: I’ve heard the judges on ‘Britain’s Got Talent’ and ‘America’s Got Talent’ say, “It’s a yes from me.” “It’s a yes from me” to see ‘The Red Priest’ (Eight Ways to Say Goodbye). Running time is approximately 90 minutes with no intermission. The production runs to August 7 on the grounds of Guild Park, 201 Guildwood Parkway, Scarborough. For further information on dates and times, visit www.guildfestivaltheatre.ca . THE RED PRIEST (Eight Ways To Say Goodbye) by Mieko Ouchi Presented by Guild Festival Theatre. Director: Helen Juvonen Stage Manager: Tara Mohan Production Designer: Wasifa Noshin Sound Designer: Sean Meldrum Assistant Director: Alecia Pagnotta Performers: Sierra Haynes, David Whiteley Previous Next